Bernardo de' Dominici - Knowledge (XXG)

273:, De Dominici noted that "Florence, Bologna, Venice, Genoa, and other illustrious cities, . . boasting the merits of their professors and raising to the stars the excellent works they had made, wanted their youth to follow in the glorious footsteps of the Raphaels, Correggios, Titians, and Michelangelos." Moved by such examples to pity the fate of many praiseworthy Neapolitan painters, architects, and sculptors, De Dominici wrote, he determined to raise them from the darkness of oblivion in which they languished. 20: 188:). In this three-volume collection of biographies, published in Naples in 1742-1745, De Dominici treated artists from the thirteenth century to his own time. Most of the artists were Neapolitan natives or immigrants who spent most of their careers in Naples, though De Dominici also included famous Neapolitans who made their careers largely or entirely elsewhere (namely, 309:' utility for historians of Neapolitan art by recognizing his astute criticism of works of art and understanding the rhetorical mode of the genre of early-modern biographies in which De Dominici wrote. The growing appreciation for De Dominici's connoisseurship has helped scholars revisit questions such as the use of drawings in early-modern Naples. 74:

in Malta and had moved to Naples when he was around 20 years of age. In one of the few autobiographical statements, De Dominici remarked that in 1698, when he was around 14 years old, his father took him to Malta, where Bernardo studied with Preti briefly until the elderly painter's death in January

300:

dubbed him "Il Falsario" ("The Forger") in an 1892 essay in the journal. Many of De Dominici's assertions have proven to be inaccurate, and considerable criticism has been levied against his use of putative sources (especially a manuscript from the 16th-century "notary Criscuolo" and notes from the

296:, called for a modern "critical history" of art in Naples, based on documents and philological scrutiny of narratives, inscriptions and other texts, that would obviate De Dominici's text. The critique and dismissal of De Dominici as a source achieved its most pointed expression when the young 245:, with prefatory material to each volume followed by biographies arranged chronologically. Like other collections of biographies of regional Italian artists published in the nearly two centuries since the appearance of Vasari's 120:, the important collector and Austrian viceroy of Naples (1728-1733). No paintings by De Dominici have been identified, however, although an inventory of the duke of Laurenzana's collection lists eleven small landscapes by him. 180:(or Ricciardo), who republished the Giordano biography as a stand-alone book in 1729. Ricciardi was subsequently responsible for the publication of several important texts on art, including De Dominici's major work, the 291:

came under significant criticism already in the eighteenth century, though it remained an authoritative source through the nineteenth century until some scholars, especially those associated with the new journal,

86:, who was then working in Naples, as well as with the Dutch painter Paul Ganses, a specialist in moonlit seascapes. For many years, De Dominici lived in the household of the duke of Laurenzana (or Laurenzano), 241: 98:, a literary and philosophical society, whose branch in Naples she hosted. As he later described it, De Dominici served the duchess "as a painter of landscapes, seascapes, and scenes of everyday life" ( 284:

was published in Naples in 1840-1846. An annotated edition was published in 2003. Aside from excerpts, the book has not been translated into any other language from its original Italian.

688: 406: 220:, De Dominici mistakenly thought to have been born in Gallipoli, in the province of Lecce (then part of the Spanish viceroyalty of Naples), albeit the son of a Spanish father. 157:) to appoint him director of the royal gallery of paintings. De Dominici died in poverty on 30 April 1759. He was buried in the Neapolitan church of Santa Croce di Palazzo. 641: 167:

Bernardo De Dominici's first publication, a biography of the most celebrated Neapolitan painter, Luca Giordano (1634-1705), was appended to the second edition of

305:) that were suspected of being invented by the author himself. Nonetheless, efforts have been made since the second half of the twentieth century to recover the 265:

of 1732, Lione Pascali noted that what others had done for Venice, Modena, Genoa, Bologna, and Verona, De Dominici was doing for Naples. In his address to the

123:

In great part because of his association with Sanseverino, De Dominici was in contact with the intellectual and artistic elite of Naples, among them Solimena,

743: 778: 689:

https://www.academia.edu/678548/Bernardo_De_Dominici_e_le_Vite_depittori_scultori_ed_architetti_napoletani_Contributo_alla_riabilitazione_di_una_fonte

407:

https://www.academia.edu/678548/Bernardo_De_Dominici_e_le_Vite_depittori_scultori_ed_architetti_napoletani_Contributo_alla_riabilitazione_di_una_fonte

514: 773: 427: 753: 683:

Thomas Willette, "Bernardo De Dominici e le Vite de' pittori, scultori ed architetti napoletani: contributo alla riabilitazione di una fonte,"

401:

Thomas Willette, "Bernardo De Dominici e le Vite de' pittori, scultori ed architetti napoletani: contributo alla riabilitazione di una fonte,"

551: 139:, with whom he exchanged sonnets. By 1721, De Dominici was gathering biographical material on Neapolitan artists. He published a biography of 642:

https://www.academia.edu/9844140/%C3%88_stata_opera_di_critica_onesta_liberale_italiana_Benedetto_Croce_and_Napoli_Nobilissima_1892_1906_

227:

comprises almost one hundred chapters, ranging in length from a single page to nearly 150 pages, each of which is called either a life (

117: 172: 763: 87: 58:

Bernardo De Dominici was born in Naples on 13 December 1683 to Camilla Tartaglione and the Maltese painter, musician and collector

150:

De Dominici was married twice: to Palma Vittoria Nicolini in 1717 and to a Roman widow, Maria Marta Maddalena Quaresima, in 1735.

82:, who, though primarily a history painter, trained him in landscape painting. He also studied under the German landscape painter 768: 748: 196:). He discussed but did not devote full biographies to significant artists who worked in Naples relatively briefly, such as 758: 95: 658: 515:

https://www.academia.edu/678547/The_Second_Edition_of_Belloris_Lives_Placing_Luca_Giordano_in_the_Canon_of_Moderns

640:, ed. Jack D'Amico, Dain A. Trafton, and Massimo Verdicchio (Toronto: University of Toronto Press, 1999), 52-87; 428:

https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000023230

59: 153:

More than once, but unsuccessfully, De Dominici petitioned king Charles VII of Naples (later, from 1759, king

471:

Bernardo De Dominici, "Vita del cavaliere D. Luca Giordano pittore napoletano," in Giovanni Pietro Bellori,

168: 38:(1683–1759) was an Italian art historian and minor landscape and genre painter, active mainly in his native 63: 347: 177: 250: 213: 136: 389: 46:, a three-volume collection of biographies of Neapolitan artists, for which he is sometimes called the 261:

offered a complement to, and updating and implicit critique of, Vasari's Tuscany-focused book. In his

78:

After Bernardo De Dominici's return to Naples in 1701, he dedicated himself to painting as a pupil of

738: 733: 193: 154: 531: 476: 83: 209: 128: 91: 79: 511:

Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome

674:, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xxxvi-xl. 610:, ed. Fiorella Sricchia Santoro and Andrea Zezza, 5 vols. (Naples: Paparo Edizioni, 2003-2017). 550:, 3 vols. (Naples: Francesco Ricciardi, 1742-45), 1:n.p. ("Agli Eccellentiss Signori Eletti"); 623:, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xx-xxiv. 302: 124: 67: 369: 330: 584:, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xxiii. 217: 632:

Thomas Willette, "È stata opera di critica onesta, liberale, italiana: Benedetto Croce and

685:

Ricerche sul '600 napoletano: Dedicato a Ulisse Prota-Giurleo nel centenario della nascita

653:

Benedetto Croce, "Sommario critico della storia dell'arte nel napoletano I. Il Falsario,"

403:

Ricerche sul '600 napoletano: Dedicato a Ulisse Prota-Giurleo nel centenario della nascita

297: 109: 446:, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xv. 493: 462:, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2014), 3:15. 105: 47: 727: 189: 140: 132: 513:, ed. Janis Bell and Thomas Willette (Cambridge: Cambridge University Press, 2002); 19: 100: 71: 201: 659:

https://digi.ub.uni-heidelberg.de/diglit/napoli_nobilissima1892/0144/image,info

205: 197: 569:

Napoli, L'Europa: Ricerche di storia dell'arte in onore di Ferdinando Bologna

563:

Thomas Willette, "Notes on the Publication History of Bernardo De Dominici's

62:(1645-1705). He was the younger brother of the actor, musician, and composer 346:, 3 vols. (Naples: Francesco Ricciardi, 1742-45), 2:n.p. ("Prefazione"); 348:

https://archive.org/details/vitedepittoriscu1to2dedo/page/n247/mode/2up

39: 670:

Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici,

619:

Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici,

580:

Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici,

442:

Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici,

390:

https://archive.org/details/vitedepittoriscu03dedo/page/562/mode/2up

112:, who specialized in painting animals. De Dominici claimed that his 552:

https://archive.org/details/vitedepittoriscu03dedo/page/n3/mode/2up

269:(representatives) of the city of Naples in the first volume of his 702:

A Taste for Angels: Neapolitan Painting in North America 1650-1750

18: 532:

https://archive.org/details/bub_gb_e5IfrxB7ZO4C/page/n29/mode/2up

477:

https://archive.org/details/gri_33125008714053/page/n341/mode/2up

700:

Judith Colton, "The Fall and Rise of Bernardo De Dominici," in

475:(Rome : Francesco Ricciardo and Giuseppe Buono, 1728), 304-95; 242:

Lives of the Most Excellent Painters, Sculptors, and Architects

704:(New Haven, CT: Yale University Art Gallery, 1987), pp. 57-68. 216:. The most important immigrant artist in Naples, the Spaniard 672: