Federico Barocci, 1526/35 - 1612, circle of the
AENEAS AND HIS FAMILY FLEE OUT OF TROY, c. 1598
Oil on canvas.
76 x 95.5 cm
Private collection
In
Greco-Roman mythology, Aeneas was a Trojan
hero, the son of the prince Anchises and the goddess Aphrodite
(Venus). His father was a first cousin of King Priam of Troy, making Aeneas a
second cousin to Priam's children (such as Hector and Paris). He is a character
in Greek mythology and is mentioned in Homer's Iliad. Aeneas receives full
treatment in Roman mythology, most extensively in Virgil's Aeneid, where he is
an ancestor of Romulus and Remus. He became the first true hero of Rome.
He played a prominent part in defending his city against
the Greeks during the Trojan War, being second only to Hector in ability. Homer
implies that Aeneas did not like his subordinate position, and from that
suggestion arose a later tradition that Aeneas helped to betray Troy to the
Greeks. The more common version, however, made Aeneas the leader of the Trojan
survivors after Troy was taken by the Greeks. More on Aeneas
Federico Barocci, original name Federico Fiori
Barocci, (born c. 1526, Urbino, Duchy of Urbino, Papal States—died 1612, Urbino), was a leading painter of the central
Italian school in the last decades of the 16th century and an important
precursor of the Baroque style.
Barocci studied in Urbino with Battista Franco, a follower of
Michelangelo’s maniera. Although he made two visits to Rome—one in about 1550 to study the works of
Raphael, and another in 1560 when, with Federico Zuccaro, he worked on the
frescoes for Pope Pius IV’s Casino in the Vatican Gardens—Barocci lived and
worked all his life in Urbino and the surrounding small towns. He executed
altarpieces and devotional paintings for local churches and patrons such as the
Duke of Urbino and, in time, the cathedrals of Genoa and Perugia.
Barocci may have never seen an original Correggio, yet
Correggesque motifs appear in his compositions. Warmth of feeling, tenderness
of expression, and a painterly approach are common to the work of both artists.
This is particularly evident in the many paintings by Barocci on the theme of
the Madonna; two of the most famous are the Madonna del Popolo (1579) and the
exquisitely beautiful Nativity (1597). Barocci was unusual in the Mannerist
period for his numerous and extremely sensitive life drawings. His distinctive
use of colour is central Italian in origin—pale, fugitive colours blended chiefly from vermilion pinks,
mother-of-pearl whites, and grays. More on Federico Barocci
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