498:
618:, on the grounds of that Malvasia's text is a mere compilation of facts embellished with poetic language, lacking in critical assessments and governed by no theoretical framework other than a provincial attachment to his native city. Recent scholarship has taken Malvasia more seriously as an art historian and the Center for Advanced Study in the Visual Arts is preparing the first scholarly, critical edition since 1841, accompanied by the first English translation, of the complete text of the
1368:
1380:
1356:
389:. Nevertheless, his principal career was to be in the law. In 1647, when he was only thirty-one years old, he was made professor of law at the University of Bologna, a post he held for forty years. The many tracts he published on legal matters spread his fame and brought him offers to join the faculties of other universities, those of
1392:
528:
of the 14th - 17th centuries, and for some of the artists included, the only source of information. The text is divided into four historical sections, with the first on the trecento painters, the second focusing on
Francesco Francia, the third devoted to the Carracci, and the fourth (and most valued
482:
to
Bologna and its treasures, first published in 1686. Enthusiastically received, it was reprinted four times before 1704. A new edition revised and enlarged by Giampietro Zanotti appeared in 1706, and was reprinted in 1732, 1755 and 1766. The latest edition, edited by
423:(1638–1665) and, overcoming the resistance of her father, saw to it that she received training as a painter. As a result, despite the fact that death ended her career when she was only twenty-seven years old, she enjoys a secure place in the history of Bolognese art.
34:
372:
After the end of the War of Castro, Malvasia became gravely ill. Probably about this time, in the early 1640s, he returned to
Bologna, where he was to remain for the rest of his life. On his recovery from his unnamed illness he studied for and entered the
497:
1317: : che nella pretesa, e rimostrata sin'hora da altri maggiore antichita, & impareggiabile eccellenza nella pittura, con manifesta evidenza da fatto, rendono il passeggiere disingannato ed instrutto dell'Ascoso, accademico gelato
473:
that
Malvasia studied and claimed to have deciphered, although his explanation, in the words of one writer, "was not among the most felicitous of the attempts" made by various scholars. The opposite can be said of
596:, with an abridgement of the original text and an introduction by Marcella Brascaglia, was brought out in Bologna by Alfa in 1971. A part of the vast accumulation of working notes that Malvasia used for his
415:, whom he admired enormously, was an especially close friend. For many younger artists he was a benefactor. At his own expense he set up an art academy to teach aspiring painters to draw from nude
419:
tells us of his help for struggling young artists, some of whom would otherwise have had to leave the profession. It is also to
Malvasia's great merit that he recognized the talent of
303:, a renowned baroque poet, and he also studied music. He wrote poetry while still a boy and learned to play several musical instruments. He received cursory training in painting under
529:
today) providing detailed, firsthand accounts of the lives and careers of the artists who rose to pre-eminence during the 17th century in the wake of the
Carracci reform, including
1472:
1237:
Perini
Folesani, Giovanna (2019). "La poesia ecfrastica ed encomiastica tra elemento esornativo e documento storico: il caso della Felsina pittrice di Carlo Cesare Malvasia".
560:
has been used continually and cited endlessly by writers interested in
Bolognese art. The book was reissued in an abundantly annotated two-volume edition that was edited by
400:
To the already considerable list of his skills should be added an ability to paint and draw. These arts he studied under
Giacomo Cavedone (1577-1660), a pupil of
592:
was printed were published in 1961, with an important and substantial introduction by
Adriana Arfelli dealing with Malvasia and his work. A new edition of the
299:(which his son was to inherit), and a certain Caterina, described only as "a woman of low degree but his legitimate wife." The young man studied poetry under
1052:
Perini, Giovanna (1988). "Carlo Cesare Malvasia's Florentine Letters: Insight into Conflicting Trends in Seventeenth-Century Italian Art Historiography".
601:
434:
to Louis XIV. Sun King did not fail to show his gratitude to Carlo Cesare by sending him the famous “Gioiello della Vita”, a small but very precious
1462:
248:
585:
1467:
361:, the largest dukedom inside the boundaries of the Papal States. Malvasia at once enlisted on the side of the pope. He fought with valor in a
1497:
1457:
1452:
1182:
1168:
322:
Shortly after graduating he moved to Rome where he remained active in both law and literature. He belonged to two literary societies, the
810:
833:
G. Perini, 'Central issues and peripheral debates in seventeenth-century art literature: Carlo Cesare Malvasia's Felsina Pittrice'. In
576:, which was printed in Rome in 1769. Malvasia's book enjoyed considerable success outside of Italy too. On 4 October 1710, the painter
295:
Carlo Cesare Malvasia was born on 18 December 1616 to Anton-Galeazzo Malvasia, a member of the lesser nobility who held the title of
1447:
1152:
940:
794:
702:
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The vast body of his writings includes many legal studies and much poetry. In his youth, Malvasia enjoyed considerable success as a
1492:
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1442:
1432:
1427:
1477:
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381:, a position of considerable prestige. He also continued his interest in literary matters and was an active member of the
1346:
1487:
1437:
1280:
1322:
287:, Malvasia is considered "among the best informed and most intelligent historians and critics of art who ever lived."
201:
1163:
867:, not seriously intended to conceal his identity, the name given him as a member of the Accademia dei Gelati. The
1307:
323:
1031:
1018:
932:
615:
284:
316:
163:
814:
1417:
1412:
382:
1195:(2008). ""Spirito abile" ed "Elevatissimo ingegno". Giovan Pietro Bellori e Carlo Cesare Malvasia".
863:, Bologna, 1686. Malvasia signed the book "Ascoso, Accademico Gelato," that is to say, he used as a
694:
577:
394:
390:
1254:
1225:
1204:
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1071:
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924:
561:
542:
408:, apparently landscape scenes and "perspectives," both in his own villa and in those of friends.
335:
243:
120:
1083:
Perini, Giovanna (1989). "L'arte di descrivere: La tecnica dell'ecfrasi in Malvasia e Bellori".
979:
Rouchès, Gabriel (1913). "Un érudit bolonais du XVII siècle, Carlo-Cesare Malvasia 1616–1693".
637:, an extended study of the ancient epigraphic material to be found in the environs of Bologna.
1372:
1178:
1148:
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790:
698:
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378:
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312:
173:
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at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC.
688:
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1054:
813:. Today it is held in Bologna at the Municipal Art Collections. Collezioni Comunali d’Arte,
525:
386:
350:
346:
331:
308:
304:
196:
907:
Life of Marcantonio Raimondi and Critical Catalogue of Prints by or after Bolognese Masters
569:
546:
404:, and while he practiced them for his diversion only, we know that he painted a number of
354:
112:
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The jewel is known as "Gioiello della Vita" because it was bequeathed by Malvasia to the
588:
of Paris. A small group of Malvasia's biographies that remained in manuscript after the
513:
506:
484:
459:
342:
300:
238:
191:
186:
1314:
1216:
Dempsey, Charles (2008). "Malvasia and the Problem of the Early Raphael and Bologna".
33:
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1258:
1112:
358:
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818:
565:
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83:
61:
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377:. He obtained a theology degree in 1653, and in 1662 was appointed a canon of the
1299:
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882:
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poet active both in Bologna and in Rome. One of the best examples of the poetry,
430:
in acquisition of Bolognese artworks for the royal collections. He dedicated the
1026:
992:
Casu, Mario (1963). "Valori espressivi negli inediti di Carlo Cesare Malvasia".
572:, continued Malvasia's massive undertaking with the addition of a third volume,
538:
487:, Marcello Oretti and Francesco Maria Longhi, was published in Bologna in 1776.
253:
124:
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still survives and can be found, bound in two large manuscript volumes, in the
1384:
1303:
913:(Washington, DC: Center for the Advanced Study in the Visual Arts, 2013-2017).
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479:
412:
158:
622:(three of the planned sixteen volumes of which have been published by 2017).
1379:
1147:. University Park, PA: The Pennsylvania State University Press. p. 15.
868:
470:
435:
427:
116:
817:, Bologna. The jewel contains a miniature portrait of Louis XIV painted by
629:(1686), a companion gallery guide of works by the artists discussed in the
899:
Carlo Cesare Malvasia's Felsina pittrice: Lives of the Bolognese Painters.
1337:
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1174:
864:
762:. Vol. V. Bologna: Stamp. di San Tommaso d'Aquino. pp. 149–150.
534:
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362:
276:
272:
79:
57:
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edition annotated by Andrea Emiliani was published in Bologna in 1969.
1120:
Bohn, Babette (1992). "Malvasia and the Study of Carracci Drawings".
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has been criticized for its inaccuracies and unfavorably compared to
466:, which was published in Bologna in 1683. It deals with an enigmatic
405:
374:
1096:
1067:
718:
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296:
94:
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The Procaccini and the Business of Painting in Early Modern Milan
568:, the son of the leading painter of the late Baroque in Bologna,
271:(1616–1693) was an Italian scholar and art historian from
884:
Vite de' pittori Bolognesi non descritte nella Felsina pittrice
574:
Vite de' pittori bolognesi non descritte nella Felsina pittrice
455:
326:
and the Accademia dei Fantastici. In this last he served as
144:
Anton-Galeazzo Malvasia and Caterina Malvasia (née Lucchini)
1144:
Malvasia's Life of the Carracci: Commentary and Translation
397:
included, but he preferred not to leave his native city.
1197:
Mitteilungen des Kunsthistorischen Institutes in Florenz
580:
began a public reading of his translation of Malvasia's
426:
Malvasia was also a collector and acted as an agent for
315:(1575–1640), he studied law and took his degree at the
821:
in 1681, surrounded by concentric circles of diamonds.
787:
Life Stories of Women Artists, 1550–1800: An Anthology
1344:
733:
Annibale Carracci and the Beginnings of Baroque Style
283:, published in 1678. Together with his contemporary
772:
612:
Le vite de' pittori, scultori et architetti moderni
231:
223:
215:
210:
179:
169:
157:
152:
140:
130:
108:
100:
90:
68:
43:
21:
837:, Irving Lavin (ed.), University Park, 1989, 139.
349:, one of Italy's most powerful families, and the
438:. Malvasia died in Bologna on 9 March in 1693.
311:. Later, under the guidance of a noted jurist,
556:In the years since its first publication, the
357:, the reigning pope. Both sides contested for
330:or president. He became friends with Cardinal
1014:Carlo Cesare Malvasia: The Life of Guido Reni
524:is a primary source of information about the
8:
1141:Malvasia, Cesare; Summerscale, Anne (2000).
1029:(1986). "Malvasia as a source for sources".
1022:, vol. 124, no. 950 (May), pp. 306–308.
965:. Bologna: per l'Erede di Domenico Barbieri.
963:Felsina pittrice. Vite de' pittori bolognesi
522:Felsina pittrice, vite de’ pittori bolognesi
501:Malvasia's biography of the Carracci in the
492:Felsina pittrice, vite de’ pittori bolognesi
1473:Academic staff of the University of Bologna
1085:I Tatti Studies in the Italian Renaissance
505:of 1678. This particular copy belonged to
32:
18:
829:
827:
911:Lives of Domenichino and Francesco Gessi
789:. Burlington, VT: Ashgate. p. 121.
512:Malvasia is the Bolognese equivalent of
1351:
1306:of digitized versions of copies at the
1016:by Catherine Enggass, Robert Enggass",
835:World art: themes of unity in diversity
682:
680:
671:
651:
586:Royal Academy of Painting and Sculpture
520:in the artistic supremacy of his time.
464:Aelia Laelia Crispis non nata resurgens
929:The Oxford Handbook of Roman Epigraphy
887:. Rome: Stamperia di Marco Pagliarini.
745:
365:commanded by his cousin, the Marchese
667:
665:
663:
661:
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516:, and saw his native city surpassing
249:Antoine Joseph Dezallier d'Argenville
7:
1169:Dizionario Biografico degli Italiani
369:, leader of the Papal Army cavalry.
275:, best known for his biographies of
1175:Istituto dell'Enciclopedia Italiana
811:Sanctuary of Santa Maria della Vita
614:(1672) by Malvasia's contemporary,
564:and published in Bologna in 1841.
14:
760:Notizie degli scrittori bolognesi
16:Italian scholar and art historian
1390:
1378:
1366:
1354:
1463:17th-century Italian historians
1276:"Malvasia, Carlo Cesare, Conte"
1171:, Volume 68: Malatacca–Mangelli
961:Malvasia, Carlo Cesare (1678).
909:in two volumes; and Volume 13:
773:Malvasia & Summerscale 2000
602:Archiginnasio Municipal Library
385:, the most important Bolognese
1012:Pace, Claire (1982). "Review:
1:
1468:17th-century Italian painters
1218:Studies in the History of Art
1162:Massimi, Maria Elena (2007).
353:, whose family was headed by
341:While he was still in Rome a
1498:People from the Papal States
1458:17th-century Italian writers
1453:University of Bologna alumni
1281:Dictionary of Art Historians
526:Bolognese school of painters
462:. Then there is the curious
758:Fantuzzi, Giovanni (1786).
454:, published in 1647, is an
411:He knew many artists well.
202:Pierre Cureau de La Chambre
1514:
981:Archives de l'art français
897:Elizabeth Cropper et al.,
731:Dempsey, Charles (2000).
687:Lo Conte, Angelo (2020).
262:
148:
31:
1448:17th-century biographers
1308:Getty Research Institute
1164:"Malvasia, Carlo Cesare"
903:Early Bolognese Painting
785:Dabbs, Julia K. (2009).
625:Malvasia also published
324:Accademia degli Umoristi
1335:by Aldo Foratti in the
1032:The Burlington Magazine
1019:The Burlington Magazine
933:Oxford University Press
850:, Rome, 1934, XXII, 53.
616:Giovanni Pietro Bellori
584:of the Carracci at the
285:Giovanni Pietro Bellori
1493:Italian Baroque people
1483:Italian art collectors
1443:Biographers of artists
1433:Italian art historians
717:Felsina is an archaic
509:
458:in honour of Cardinal
345:broke out between the
227:Art history, epigraphy
1428:Painters from Bologna
1338:Enciclopedia Treccani
1329:Carlo Cesare Malvasia
1319:. Monti, Bologna 1706
1315:Le pitture di Bologna
1312:Digitized edition of
1274:Sorensen, Lee (ed.).
1239:La poésie et les arts
881:Luigi Crespi (1769).
861:Le pitture di Bologna
848:Enciclopedia Italiana
846:Aldo Foratti, in the
735:. Cadmo. p. XII.
627:Le pitture di Bologna
570:Giuseppe Maria Crespi
500:
476:Le pitture di Bologna
319:in December of 1638.
317:University of Bologna
269:Carlo Cesare Malvasia
164:University of Bologna
38:Carlo Cesare Malvasia
26:Carlo Cesare Malvasia
1478:Italian antiquarians
1423:Writers from Bologna
1251:10.4000/italique.542
1173:(in Italian). Rome:
695:Taylor & Francis
383:Accademia dei Gelati
379:Cathedral of Bologna
219:History, archaeology
1488:Italian art critics
1438:Italian biographers
925:Edmondson, Jonathan
905:; Volume 2 part 2:
578:Charles de La Fosse
153:Academic background
815:Palazzo d'Accursio
562:Giampietro Zanotti
510:
336:Alessandro Algardi
244:Giampietro Zanotti
121:university teacher
1039:(1004): 790–795.
923:Bruun, Christer;
721:name for Bologna.
551:Elisabetta Sirani
452:Il fiore coronato
421:Elisabetta Sirani
367:Cornelio Malvasia
334:and the sculptor
313:Claudio Achillini
266:
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174:Claudio Achillini
54:December 18, 1616
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1296:Felsina pittrice
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1184:978-8-81200032-6
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1055:The Art Bulletin
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594:Felsina pittrice
590:Felsina pittrice
558:Felsina pittrice
503:Felsina pittrice
432:Felsina pittrice
387:literary society
332:Bernardino Spada
309:Giacomo Cavedone
305:Giacinto Campana
281:Felsina pittrice
254:Luigi Lanzi
197:Daniel Papebroch
170:Doctoral advisor
135:Felsina pittrice
101:Other names
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74:(1693-03-09)
72:9 March 1693
62:Papal States
1418:1693 deaths
1413:1616 births
1287:22 November
1245:: 191–208.
1091:: 175–206.
746:Keazor 2008
539:Domenichino
471:inscription
125:epigraphist
91:Nationality
1407:Categories
1373:Literature
1304:HathiTrust
901:Volume 1,
859:Malvasia,
641:References
531:Guido Reni
480:guide book
413:Guido Reni
375:priesthood
355:Urban VIII
232:Influenced
216:Discipline
180:Influences
159:Alma mater
50:1616-12-18
1397:Biography
1259:212857604
1224:: 57–70.
1113:178550112
987:: 210–23.
869:facsimile
543:Lanfranco
428:Louis XIV
351:Barberini
141:Parent(s)
117:historian
1298:, 1678,
1230:42617992
1209:30249347
1006:20859619
535:Guercino
518:Florence
448:Marinist
406:frescoes
328:principe
1347:Portals
1134:1554057
1105:4603664
1076:3051120
973:Vol. II
363:brigade
347:Farnese
277:Baroque
273:Bologna
95:Italian
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58:Bologna
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359:Castro
104:Ascoso
23:Doctor
1361:Italy
1255:S2CID
1226:JSTOR
1205:JSTOR
1130:JSTOR
1109:S2CID
1101:JSTOR
1072:JSTOR
1041:JSTOR
1002:JSTOR
994:Aevum
719:Latin
646:Notes
582:Lives
442:Works
436:jewel
395:Pavia
391:Padua
297:count
1289:2021
1243:XXII
1179:ISBN
1149:ISBN
937:ISBN
791:ISBN
699:ISBN
549:and
393:and
307:and
69:Died
44:Born
1385:Art
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