Luca Cambiasi

Luca Cambiaso (Moneglia, October 18, 1527 - San Lorenzo de El Escorial, September 6, 1585) was an Italian painter

Father Giovanni's pupil, soon influenced by the artists of the flourishing Genoese mannerism (first of all Perin del Vaga), which develops in its original ways

The Beginnings:
Luca Cambiaso was born in Moneglia on 18 October 1527 The father is the painter Giovanni Cambiaso (1495-1579), born in San Quirico in Val Polcevera, a place that he had to abandon in order to escape the camps camped there by the connoisseur of Bourbon Giovanni Cambiaso had moved to Moneglia, where Luca was born

Giovanni gave Luca his first pictorial teachings and copied the drawings of the Italian Renaissance masters, modeling clay figures and, above all, studying the frescoes by Perin del Vaga, Domenico Beccafumi and Il Pordenone, recently performed in the palace of Andrea Doria in Fassolo

Of John's art nothing is known until the first work performed in 1545 in collaboration with his son This is the polychrome of Brecchanac (Cogorno) commissioned on 6 February 1545 to Giovanni Cambiaso by the Massari of the church Its notarial act, traced by Federico Alizeri, is still preserved in Sant'Antonino Martyr of Cogorno The work consists of a five-compartment triptych (size computed with all compartments: cm 167x146) It shows the following depictions:

The Ascension of Christ in the center (cm 149x60);
In the side panels (cm 109x35) are San Cristoforo and Sant'Antonio martyr;
Above, in the smaller panels (cm 33x35), Angelo Annunciante and Virgin Annunziata
The Polyptych of Breccanecca comes back in 1954 and released from the additions and re-paintings of 1776, showing Giovanni's predominant hand, adapting to the external influences that came to Genoa with the artists brought by Doria: Perin del Vaga, Beccafumi, Pordenone, Adding comments from Nordic engravings Round notes Dürer's memory in the frowned face of St Christopher and in the twisted and swollen Child carried by him Giovanni Cambiaso knew Dürer from reproductions in print and nourished updating aspirations However, he remained a modest painter unable to get out of the '400 ligurians and models of the early' 500, unable to deeply comprehend Fassolo's painting Wanting to adapt to the novelties, St Michael of Celle of Perin del Vaga captured the exteriority of the attitudes and not the freedom of movement and the brightness; The best results came to them in the two small compartments of the Annunciation It showed a Beccafumian acceptance of how to move the color in relation to light, accentuating the chromaticity of shadowy parts with the weave of the brushstrokes, succeeding despite the provincialism to provide its version of the beccafumian brushstroke, this in the two figures of the Annunciation, in the branch Lily of the Angel and the wood of the Virgin Round, which reconstructs Luca's first activity, he suggests that the two smaller square compartments were his son Luca Cambiaso, whose formation is the beccafumian modes

As far as I'm concerned, there is the Polyptych with the saints Cornelio Papa and Cipriano bishop, a table oil, kept in San Cipriano di Serra Riccò, in the parish church of Saints Cornelius and Cyprian

The main table was at the feet of St Cornelius, in the half-hourly and illusive scroll of inscription, the unreadable date of the painting; The table dates back to when the Cambiaso da Moneglia returned to San Quirico Luca has acquired greater freedom in structuring volumes and is able to become independent especially in the predella, with the freshness of the sketch The two compartments of the predella portray San Cornelio dragged in front of Emperor Gallus (now oval shaped, 28x63 cm), and the Decollation of Saint Cornelio (now round in shape, 31 cm in diameter) They are original works, while the last round is the result of a substitution probably occurred on the destruction of the frame, when the table was embedded in the apsidal wall over the chorus On that occasion, the two tablets of the predella were carved out of an oval and one round, and the table was expanded with the addition that the restoration of the Superintendence of 1955-56 highlighted in hatred The actual frame is dated 1871, but with refinements In 1881 the predella had a fourth compartment, disappeared a few years before 1937 when it was evident that the stuccoes were also rebuilt, at least in the underlying part of the painting The missing tablet, with San Cipriano bishop dragged in front of the consul Valerio Massimo, was brought to the Piccolo Cottolengo Institute in Genoa, where he was rediscovered from the catalog of Bruno Ciliento This is a table of identical measurements of that of the predella (cm 28x63), of the San Cipriano dragged in court The current round on the right, the Decollation of Saint Cyprian, is a late copy that replaces the original perhaps destroyed (31 cm in diameter)

He first reported the work (now in the total size of 230x162 cm) was Federico Alizeri, who attributed the table to Giovanni Cambiaso and the predella to Luca Cambiaso Pasquale Rotondi changed these hypotheses to the discrepancies in the central part between the two holy protagonists, heavy in the molded, clumsy, clumsy, clumsy general setting, and the freshness and lively preciousness with which they shape the broad background, hands The edges of the pivots, the book of Saint Cyprian, the head of Cornelius and the upper part of the Madonna and Child, Saint Sebastian and the angels in the clouds

In these particular rounds he identifies the part of Luke; But Luca is unanimously acknowledged by the parts of the predella

Rounded up in Luca's part, in the fantastic landscape luminarism and in the idea of placing the divinity in glory over the two saints, a memory of the Martyrdom of St Stephen of Giulio Romano, whose experience of Luca is enriched by his palpitating and I live Luca shows intuitive irrationality and some rough violence in the executioners of the two ovals of the predella, the latest derivations of Giovanni Cambiaso's popular attitudes and of his youthful character being in 1545-46 is not yet 20 years old These particulars come to them with the ideas taken from the table of Giulio Romano in Santo Stefano, approaching his executioners to the stoners of this

In February 1547 Luca and Giovanni Cambiaso are in Taggia, in partnership with Francesco Brea, who lives in that center of the Ponente They freshen up the church of Santa Maria del Canneto at Taggia, for which they paint two plates: the Resurrection and the Virgin with the son of the saints Crispino and Crispiniano Resurrection is largely by Luca, "collaborator" for the contract of supply; John affirms the Assumption of the Virgin in the Presbytery and the Prophets' Stories in the Lunette Underly

Initial Michelangiolism:
In 1548-49 the two Cambias, father and son together, perform the Adoration of the Magi at the Sabauda Gallery in Turin This is a precise reference to the Adoration of the Tibetan Pastors of the Borghese Gallery in Rome, which can make us think of a contact between the painters; In both cases there is a common michelangiolist phase; However, the material encounter does not coincide with their respective appearances in Rome It could be at that time a michaelangiolism reached in parallel, irrespective of one another, in the absence of further clarification on the movements of one and the other in Rome

Luca Cambiaso arrives in Rome shortly after the death of Perin del Vaga, her first point of reference The other artist he will later work with, Giovanni Battista Castello called Bergamasco, has just left From Rome Luca Cambiaso goes to Emilia where he can directly see the art of Parmigianino and Correggio Cross over here a first Parmigianian phase in the Adoration of the Magi of the Convent of San Domenico di Taggia, whose exact reference to Parmigianino made Boggero's work performed by the second

In 1547-48, the two Cambias frescoed the palace of Antonio Doria at Acquasola (now Prefecture, Doria palace) Here comes the hand of John in the Stories of Hercules and those of the Trojan War Initial michaelangiolism makes the atmosphere heavy and suspended In the same palace, in the vault of the main hall Luca painted in 1548-49 Apollo saith the Greeks besiegers Troy in collaboration with the father It defines the shapes with coarse-colored shapes, accurately distinguished between them, and to create shadows that give the depth sense overlapping a subtle dark coloration, for example in the back warrior and open arms to the center of the sky Color proceeds with violent chromatic shakes; The shadows being rendered not by modulation of the same color, but by the overlapping of a thin gray-skinned patina, are transformed into a cold component that is too contrasting with the warm chromaticity of the base molds

In 1548, at the most in 1549, Luca Cambiaso resumed the same style in the Adoration of the Magi at the Galleria Sabauda It resolves the clarity of contrasts with an identical hinge, a process of graphic derivation, which Luca will gradually replace the use of the glitter The lacing, which will be used in mature work, will avoid dropping in abrupt jumps and in the chromium continuity solutions and will better balance the color-form relationship

Working in the paternal shop Luca Cambiaso definitively departs from the ways of her father in the Resurrection of the parish church of Saints James and Philip in Taggia, performed for the Brotherhood of the Body of Christ Change here the value of the space structure: space is conceived in relation to the dynamics of figures, figures constructed with a different reading of proportional relationships

The alleged journey of Luca Cambiaso to Rome in 1547 would explain these new achievements in Michelangelo's plasticism and above all in mastery of the theoretical laws taken The artist introduces a new search for proportions, based on lines and reports, and later hiding this construction in the final representation The shadow of the shadow remains to him, and Lomazzo reproached him for lack of style

The art of Luca Cambiaso prevails over that of Father Giovanni at the time of another stay (hypothesized) in the Ponente of the second The frescoes of the pronaos of the church of San Giovanni del Groppo in Molini di Prela and another cycle of frescoes lost today were to be found in 1552 In the first of two groups Luca's influence is in the Baptist Decollation of the Portal's architrave, close to the lunettes of the Troy War of the Palace of Antonio Doria

Of 1548 are the Madonna with the Son and San Giovannino and the Virgin with the Son and Maddalena of Palazzo Bianco in Genoa

In the church of Santa Maria Maddalena near Lucinasco there are other frescoes by Giovanni Cambiaso with evangelists and prophets, transformed by successive paintings, in the arena of access to the presbytery of the church They are close to the frescoes of St John the Baptist of the Groppo

John's recent insights into John's life appear in two Genoese robbers of 1558 and 1564 Giovanni Cambiaso died in Genoa in 1579 after a probable period of discontinued activity

The Cambiaso-Bergamasco collaboration:
Luca Cambiaso performs, in collaboration with Giovanni Battista Castello, the Bergamasco, the fresco cycle of the Villa dei Peschiere by Tobia Pallavicino The palace was built in the mid 1950's, completed by 1556; His design is attributed, from the Sopranos, to Galeazzo Alessi There remains some doubt about the Bergamasco's part, which while being an architect, for enrollment in Genoa in the art of painters could not appear as such Federico Alizeri is the first to open up the issue of the reforms brought by the Castle, and to resume the idea of Alessi's architecture is Red Brenna

The general organization of the frescoes is set by the Bergamasco, who paints Cupid and Apollo, who rock the arrows; The convoy of the gods (allegory required in relation to some vicissitudes of Tobia Pallavicino); The opposing chariots of the Sun-Apollo wagon and Diana-Luna wagon In Bergamasco's walls paint a dazzling architectural glimpse of illusions Luca Cambiaso in the same palace painted Diana in struggle with satire, with a further bold and brilliant glimpse that he can handle with the two figures the niche set by Bergamasco

In 1558-1559 the two collaborating artists, Luca Cambiaso and Giovanni Battista Castello Bergamasco, frescoed the Doria church, San Matteo Between the two artists there is a complementary and unified work relationship, and the two medallions of Cambiaso and Castello, respectively, do not stand out as a style of each other

It is the last stage of Cambiaso's voluminous ways Alessi had suggested to him in 1550 that he abandoned his previous heavy heavy Michelangiolism, and the artist followed the council He tried to use lighter and shining colors for the first time in the Chiavari's Thanksgiving Shrine, in 1550, with the Finale Finishing of the counterfed

The frescoes of the sanctuary of the Graces at Chiavari:
The Sanctuary of the Graces at Chiavari, a Marian cult site centered on an image of the Virgin, was attended by the sailors who left their vows here The present forms date back to the reconstruction of the first decades of the 15th century, in which the interior of the church was frescoed between 1539 and 1550 by Teramo Piaggio
Luca Cambiaso frescoes the counterfed, the only area not painted by Teramo Piaggio, in 1550, a date written on the paintings with some figures today but faded and disappeared His work in the sanctuary contrasts with Teramo Piaggio's previous and more clumsy; In the counterfamily paint the Final Judgment, a theme in which echoes the Universal Judgment of the Sistine Chapel of Michelangelo, though reduced to the small space of the little church, and adapting the model to the cult by the Mediator Virgin The iconography reflects upon the Church's policy, which was antagonistic to the Protestant Reformation, to reaffirm Marian worship Therefore, in his Judgment Luca Cambiaso highlights the Virgin who performs with the Son, offended by the Protest, the extreme attempt to intercede for humanity The Virgin and St Peter perform this mission at the top are to the left and to the right of the angry Christ; In the foreground are the damned to eternal punishment, assailed by grinning demons; Among them is the figure of a religious, presumably Martin Luther The theme of Cambiaso therefore takes on a new context the Marian theme of the stories of Christ and of the Virgin, frescoed by Teramo Piaggio The work was funded by Andrea Vaccari, son of Franchino Vaccari, the former commander of Teramo Piaggio's works
Luca Cambiaso shows a strong and lively character, already appearing in certain frescoes by Taggia in 1547, in parts of the lattice of Santi Cornelio and Cipriano, in the frescoes of Antonio Doria's palace It shows superficial attention to Michelangeloism in the gigantic form of the forms, in the hyperbolic violence of some figures, in many quotes
Other references refer to the painting of the Beccafumi, and come from the prints, or from a supposed trip to Rome in 1547, or from the direct view of the Beccafumi paintings in the palace of Prince Andrea Doria (1532) and in the Cathedral of Pisa (1537) Another probable reference was the scheme of Leonardo's Battle of Anghiari
Michelangiolism is evident to the Thanks so much in the coloristic experience as in the composition; In this genre, the artist made some progress in comparison with previous works as he was freed from heavy chiaroscuro and gained more leisurely The great characters of the lower part are still led with emphatic design, while greater freedom appears in the higher figures, especially in Christ, from the emphasis of giganticism Patterned figures with deeper and flat designs, such as the young woman contended by demons, contrast with parts of remarkable color transparency
The Judgment ends the first phase of Luca Cambiaso, the one in which the light and the drawing tend to emphasize Buonarroti He then took on the advice given to him by alexi for a more gentle color and a less extravagant drawing, to mitigate the michelangiolesque terms
The results of the progressive departure from the youth stance are in the lost fresco of the Decollation of the Baptist, commissioned by Adamo Centurion in 1552 for the church of Santa Maria degli Angeli, in the neighborhood of San Teodoro, disappeared at the beginning of the 19th century and in the villa Pallavicini delle Peschiere, paintings made together with Bergamasco

Since 1551 Luca Cambiaso has been fired by his father's shop, though now only nominally, and works independently

Luca Cambiaso and Michelangelo's design:
In the Universal Judgment of Graces dominates the manieristic attention to the anatomy and the sculptures taken by Michelangelo Lomazzo in 1590 tells that Luca Cambiaso showing to other painters in Rome his drawings underlined the great strength and virtue of the proportions of his figures in the line of linearism, and in this regard the painter boasted of finding the infallible system to harmonize such lines, Relying on numbers and quantities Cambiaso had studied the proportions of the human body by measuring them in a practical way, following the example of Buonarroti, and believed that he could overcome, with his discovery findings, the master Luca Cambiaso had identified, starting from the artifices to depict the boldly sketched figure, a precise method for setting the proportions, which appeared to be defined as geometricizing volumes; Attained this assumption he could abandon the search for the natural data to set his figures on the basis of so well-established abstraction

The Cube and the "cubettism":
These discoveries and achievements are common to other painters in the field of manierist culture At this stage dominates a drawing ground which takes the cube as a fundamental element: in this geometric space form the human figure is inscribed The cube is considered as a harmonic representation, is no longer the result of a geometric selection process in search of the perfect proportions The cube is the pure form and essential archetype on which to construct the human figure, and with it its flat representation, the square These are the ideas given two decades later in a work by Spanish Juan de Arphe, which systematizes them in a theoretical formulation; Tripartite text, the first one deals with geometry in euclidean, the second replacing the classical proportional approach of Durer with a new method of proportions, the third anatomy In the second note it is reported that Berruguete and Beçerra returned from Rome had brought in Spain a way of understanding the more accurate proportions of the one in Duro and Pomponio Gaurico This method adapted the human body to the size of the squares and cubes within which it was inscribed, and in the drawing it then left the cube and the square to insert it Michelangelo, however, where he departed from the cube, as in the Prophet Jonah, frescoed in the vault of the Sistinee, examined by Arphe in his text, made him intent to extract the figure from the cube of the marble block - the "take away" matter to isolate the idea In it enclosed Mannerism brings this to the extreme consequences of the enormous cubic heads of the protruding noses and the titanic members of the michaelangiolists: Daniele da Volterra, Pellegrino Tibaldi, Luca Cambiaso, Spanish Gaspar Beçerra

In his mature phase, Luca Cambiaso starts from this technique, and emancipates his art from the conditioning of a michaelangiolism of emphatic forms and perspectives In the mature phase, therefore, a more in-depth understanding of Michelangelo opens, from which his human form is born based on a volumetry softened by a new type of color This evolutionary process is in the early stages of Thanksgiving His art develops according to this theoretical premise; Liberated from the major burden of michaelangiolism - the theme of torsion as the titanic struggle of the soul seeking to free itself from matter - the artist moves in the field of one of the most congenial rendered of the figure in space by explication of a geometry Which is a formal essence and is accompanied by a color that dissolves in an amber atmosphere From here the next parallel between Cambiaso and the sixteenth-century French Georges de La Tour

His fame as a painter made Philip II in 1583 call him to decorate the vault of the church of the ecclesiastical monastery Here he died two years later without succeeding in completing his work; Among the frescoes realized, there are the Coronation of the Virgin (on the vault of the Capilla Mayor), the Glory (on the vault of the choir) and the resurrected Christ (on the stairs of the staircase)

Cambiasi was born in Moneglia, then part of the Republic of Genoa, the son of a painter named Giovanni Cambiasi

Cambiasi was precocious, and at the age of fifteen he painted, along with his father, some subjects from Ovid's Metamorphoses on the facade of a house in Genoa In 1544, at the age of seventeen, he was involved in the decoration of the Palazzo Doria, now the Prefettura, perhaps working with Marcantonio Calvi, a painter of his father's generation He aided in the vault decoration of the church of San Matteo, in collaboration with Giovanni Battista Castello His Resurrection and Transfiguration altarpieces for San Bartolomeo degli Armeni date from c 1560 In 1563, he painted a Resurrection for San Giovanni Battista in Montalto Ligure

This was followed by frescoes for the Villa Imperiale at Genoa-Turalba (also called the Palazzo Imperiali Terralba) with a Rape of the Sabines (c 1565) and the Palazzo Meridiana (formerly Grimaldi; also in 1565) In the Capella Lercari of the Duomo di San Lorenzo, Cambiasi frescoed a Presentation and Marriage of the Virgin in 1569, remainder of chapel by Castello

In 1583 Cambiasi accepted an invitation from Philip II to complete for the Escorial a series of frescoes begun by Castello; and the 1911 Encyclopædia states the principal reason for traveling to Spain was that he hoped royal influence would gain favor with the Vatican for his marriage plans, but this failed In the Escorial he executed a Paradise on the vaulting of the church, with a multitude of figures For this picture he received 2,000 ducats, probably the largest sum that had, up to that time, ever been given for a single work His paintings in Spain, hew to strict religious thematic

His son Orazio Cambiasi became a painter Other followers from Genoa include Giovanni Andrea Ansaldo, Simone Barabino, Giulio Benso, Battista and Bernardo Castello, Giovanni Battista Paggi, Francesco Spezzini, and Lazzaro Tavarone

Cambiasi had an ardent fancy, and was a bold designer in a Raphaelesque mode His main influences are said to have been Correggio and the Late Renaissance Venetian school His extreme facility astonished the Spanish painters It is said that Philip II, watching one day with pleasure the off-hand zest with which Cambiasi was painting a head of a laughing child, was allowed the further surprise of seeing the laugh changed, by a touch or two upon the lips, into a weeping expression The artist painted sometimes with a brush in each hand, and with a certainty equalling or transcending that even of Tintoretto His fresco technique was very spontaneous and he used small drawings to create full-size sketches on the walls without the aid of cartoons

Cambiasi is best represented in Genoa In the church of San Giorgio is a canvas of the Martyrdom of San Giorgio; Santa Maria da Carignano houses a Pietà, containing his own portrait and (according to tradition) that of his beloved sister-in-law

He painted notable nocturnes, including an Adoration of the Shepherds (1570) and the so-called Madonna of the Candle (1575) The former painting appears inspired by Correggio's Nativity

Cambiasi was a prolific draftsman In his early drawings Cambiasi showed a preference for bold foreshortenings and exaggerated gestures In the mid-1560s he began to draw in a simplified, geometric style that may have been inspired by similar works by Albrecht Dürer and other German artists
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