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125:. These achieve very delicate effects of light; his later ones became harder and more austere in style, as he attempted a personal version of neo-classicism, under the influence of the Carracci. Many of his later subjects were original classical subjects, the most ambitious reflecting his personal struggles. His prints were successful and frequently copied.
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to favor direct observation of natural phenomena, a fact that may have limited his productivity as an artist and might even have caused his death. Accounts of Testa's death are confused and contradictory, some suggesting murder or suicide. Testa was described as melancholic in temperament; his
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difficult personality caused problematic dealings with his patrons such as Niccolò Simonelli, and a series of projects had ended in frustration. Yet his earliest biographer, the 17th-century author
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Between 1638 and 1644, Testa completed what is perhaps his most important work, a set of complex and highly detailed
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riverbank, "drawing and observing some reflections of the rainbow in the water," when he fell in and drowned.
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studio in 1631, soon after joining the workshop. Others state Testa trained under
121:. His early prints, from the 1630s, were often religious and were influenced by
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58:. He moved to Rome early in life. One source states he was ejected from the
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Art and
Architecture in Italy: 1600 to 1750 (The Pelican History of Art).
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Color and
Culture: Practice and Meaning From Antiquity to Abstraction.
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good selection of etchings (and copies etc) from San
Francisco
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Painting in Italy: 1500 to 1600 (The
Pelican History of Art).
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Time to Every
Purpose: The Four Seasons in American Culture.
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Chapel Hill, NC, University of North
Carolina Press, 2004.
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The Ideal of
Painting: Pietro Testa's DĂĽsseldorf Notebook.
287:Princeton, NJ, Princeton University Press, 1984.
97:, or embellishments of his Genoese contemporary
297:Philadelphia, Philadelphia Museum of Art, 1988.
295:Pietro Testa, 1612-1650: Prints and Drawings.
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70:, for whom he worked under the patronage of
93:, have a fantastic quality reminiscent of
349:Two etchings at the Art Museum of Estonia
180:Alcibiades Interrupts Socrates' Symposium
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311:Boston, Little, Brown & Co., 1993.
30:(1611–1650) was an Italian High
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194:Nymphs and Satyrs in a Landscape
245:"Midas c.1640-50 - RCIN 905932"
54:, and thus is sometimes called
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369:17th-century Italian painters
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109:appears to have influenced
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187:Return of the Prodigal Son
16:Italian artist (1611–1650)
344:Two etchings from the MMA
384:Italian Baroque painters
304:New York, Penguin, 1979.
139:Testa was influenced by
38:. He is best known as a
328:New York, Viking, 1973.
115:Villa Valmarana Ai Nani
250:Royal Collection Trust
166:Sacrifice of Iphigenia
107:Sacrifice of Iphigenia
74:. He was friends with
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374:Italian male painters
300:Freedberg, Sydney J.
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379:Italian printmakers
314:Kammen, Michael G.
291:Cropper, Elizabeth
281:Cropper, Elizabeth
225:Wittkower, p. 323.
173:Sacrifice of Isaac
146:Filippo Baldinucci
72:Cassiano dal Pozzo
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322:Wittkower, Rudolf
234:Kammen, pp. 57-8.
141:Leonardo da Vinci
34:artist active in
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28:Pietro Testa
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389:1611 births
364:1650 deaths
134:The Seasons
68:Domenichino
358:Categories
156:Some works
40:printmaker
66:or under
46:Biography
255:Archived
253:. 1640.
130:etchings
91:drypoint
87:etchings
275:Sources
119:Vicenza
111:Tiepolo
60:Cortona
32:Baroque
293:, ed.
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105:. His
202:Notes
150:Tiber
52:Lucca
78:and
36:Rome
117:in
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