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the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter.
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277:, i.e. a topographical view, than a capriccio. It was painted in Naples and shows the old entrance to the Vatican palace, which was destroyed when Bernini's Scala Regia and colonnade were constructed, as well as clock towers (campanili) based on an engraving of a never-executed design by Martino Ferabosco.
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Most of
Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome. Art historians interpret
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was an important contemporary practitioner of the genre whose work was influenced by
Viviano Codazzi. Codazzi's vedute where generally more realistic than those of Salucci who showed somewhat greater creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions.
116:. Codazzi was a painter of architecture and the figures in his compositions were always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo. The artist married on 3 May 1636 Candida Miranda, from Naples. The couple had seven children of whom
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Codazzi also did not adhere strictly to the dictations of topography and archaeology. His works show a search for architectural arrangements that evoke aesthetic harmony. Codazzi was acclaimed in his time as close to the ancient architect
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Despite his intense artistic activity
Viviano Codazzi was registered as poor in 1657. He resided in Rome except for brief absences (around 1653 and possibly between 1659 and 1666) until his death in Rome on 5 November 1670.
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The roots of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as
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Viviano's son, Nicolo (Naples, 1642 - Genoa, 1693) was a painter of architectural paintings and capricci like his father. Another son called
Antonio was also a painter but his work is not well known.
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among 17th-century painters of architectural views. This recognition by his contemporaries was indicative of his mastery of linear perspective and understanding of antique taste.
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relied on
Viviano Codazzi to paint in the architectural backgrounds in a number of her paintings. An example of such collaboration is the
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246:. These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings.
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350:, Museo di Palazzo Venezia (Rome, Italy), Metropolitan Museum of Art (New York, N.Y.), St. Louis Art Museum, 2001, p. 416
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An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay
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Le vie degli artisti : residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650–1699
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Ludovica
Trezzani. "Codazzi, Viviano." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 Apr. 2016
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David R. Marshall, Viviano and Niccolò Codazzi and the
Baroque Architectural Fantasy, Rome, Jandi Sapi, 1993
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Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the
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Alessandro
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in which the figures were painted by
Cerquozzi. The work was made in 1648 on a commission by
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The Roman Baths Theme from
Viviano Codazzi to G. P. Panini: Transmission and Transformation
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Importante architettura di Alessandro Salucci (Firenze 1590-Roma dopo il 1650)
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Viviano Codazzi (Bergamo 1604–1670 Rome) and Filippo Lauri (Rome 1623–1694),
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in 1647, he collaborated with painters from the circle of mainly
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resulting from his connections with his fellow Bergamasque
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and Flemish painters active in Rome who were known as the
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Revolt of Masaniello in the Piazza del Mercato in Naples
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One of his best known paintings is a depiction of the
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Arches in ruins and Hecuba’s vengeance over Polymestor
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Arches in ruins and Hecuba’s vengeance over Polymesto
79:around 1604. His family relocated to Rome by 1605.
123:After relocating to Rome following the revolt of
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75:Viviano Codazzi was born in Valsassina near
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30:(c. 1604 – 5 November 1670) was an Italian
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346:Keith Christiansen, Judith Walker Mann,
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516:17th-century Italian painters
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38:period. He is known for his
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112:in Madrid, with figures by
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190:( a native of Spain), and
34:who was active during the
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526:Italian Baroque painters
200:Jacobus Ferdinandus Saey
269:Codazzi's depiction of
204:Jacob Balthasar Peeters
40:architectural paintings
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169:Columbus Museum of Art
139:Michelangelo Cerquozzi
102:Certosa di San Martino
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521:Italian male painters
511:Painters from Bergamo
488:at Wikimedia Commons
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273:dated 1636 is more a
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159:Artemisia Gentileschi
151:Adriaen van der Cabel
91:with horsemen at rest
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32:architectural painter
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182:in Naples, his son
407:David R. Marshall,
332:Giuseppe Scavizzi,
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253:St. Peters Basilica
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451:St Peters Basilica
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506:1670 deaths
501:1604 births
110:Buen Retiro
495:Categories
367:(in Dutch)
294:References
244:quadratura
125:Masaniello
264:Vitruvius
164:Bathsheba
457:, Madrid
143:Jan Miel
95:Jan Miel
44:capricci
453:in the
362:at the
167:in the
118:Niccolò
77:Bergamo
36:Baroque
275:veduta
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129:Dutch
225:Work
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58:Rome
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