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563:(Palazzo Rosso, Genoa), which also exists in several replicas, is another genre painting that shows its indebtedness to Flemish genre art in its subject, palette and painterly technique. Strozzi's use of coloured shadows is indebted to Rubens, but rather than adopting Rubens' practice of allowing a light-coloured ground to occasionally emerge on to the surface, Strozzi worked on a reddish-brown ground with light brushstrokes in paler colours.
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walls. It is known that his
Capuchin superiors condemned the secular paintings he was making such as his portraits and genre paintings. The conflict came to a head in 1630 when Strozzi refused to go back to the monastery following his mother's death and his sister's marriage. His superiors then had him imprisoned. His arrest lasted for about 17 to 18 months.
508:. About 14 portraits from this series have survived. Although created by different artists, the portraits reveal a certain unity in their arrangements that goes back to van Dyck's models. Strozzi painted more portraits than any other artist participating in the series. This may point to Strozzi's special relationship with the patron.
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Strozzi was a sought after portrait painter who portrayed the leading aristocratic, clerical and artistic figures of his time. In the late 1630s he was invited to participate in the creation of a series of portraits of distinguished members of the prominent
Genoese Raggi family. Other artists invited
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Strozzi continued to develop his style throughout his career. His art drew its early inspiration from the rich variety of styles flourishing in Genoa around the turn of the 17th century. Starting in a style which borrowed from the artificial elegance of
Cambiaso's late Mannerist style he gradually
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Strozzi had early on absorbed the Tuscan
Mannerist style through his teacher Sorri as well as the style of Milanese Mannerist painting. As a result, the influence of local Mannerism is sometimes difficult to separate from that of Lombard Mannerists. The Mannerism is expressed in the works of this
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From the year 1625 Strozzi's relationship with the
Capuchin order became strained. The order accused him of having committed a no longer known act that had purportedly caused 'disgrace to his sacred habit'. Some authors state that the act was the illegal practice of painting beyond the convent's
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early period in the elongated and curved figures, the tapering fingers, the inclined heads and the abstract patterns of draperies. In the 1620s
Strozzi gradually abandoned his early Mannerist style in favor of a more personal style characterized by a new naturalism derived from the work of
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in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the
Venetian Baroque style. His powerful art stands out by its rich and glowing colour and broad, energetic brushstrokes.
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whom he is likely to have met during his supposed trip to Rome in 1625 is not yet fully understood. It is known that he painted still lifes throughout his career and included still life elements in many of his compositions. An example are the still lifes of game in his work
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and other
Flemish artists resident or passing through Genoa contributed to a growing naturalism and a definitive rejection of the Mannerist tendencies in his work. Warmer colors started to dominate while he developed a bolder and more painterly technique. In his composition
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By 1632–1633 the artist had reemerged in Venice where he had been allowed to work and live. Strozzi was able to build a strong reputation within two years, despite not being a native
Venetian. He gradually gained recognition as one of the leading artists of his age. The
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and
Centurione families became his patrons. Bernardo Strozzi was able to secure commissions for grand mural decorations, which culminated in the important frescoes in the choir of the San Domenico church, commissioned by members of the Doria family,
111:, an innovative Sienese painter residing in Genoa from 1596 to 1598. Sorri is credited with leading Strozzi away from the artificial elegance of Cambiaso's late Mannerist style towards a greater naturalism. In 1598, at the age of 17, Strozzi joined a
606:(At Sotheby's on 3 July 2013 London, lot 35) is one of the few still lifes by Strozzi that is generally accepted as fully autograph. The design is simple as most objects are placed on a similar pictorial plane. The composition invokes Caravaggio's
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in Genoa. It is believed that from the end of April until the end of July 1625 he resided in Rome, to which he had been summoned by the friars of his order to support their attempt to create a stronger Capuchin presence in the papal city.
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Bernardo Strozzi's work exercised considerable influence on artistic developments in both Genoa and Venice. He is considered a principal founder of the Venetian Baroque style. Painters in Genoa strongly influenced by Strozzi included
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When his father died around 1608, Strozzi left the Capuchin monastery to care for his mother and unmarried sister. He supported his family through his paintings. Strozzi's career took off during the next decade and Genoa's powerful
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Bernardo Strozzi's career as a still-life painter is still not very well understood and there remains confusion over his artistic development in this genre. His relationship with still-life painters from Lucca such as
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Although also active as a fresco artist, he achieved greater success with his canvas paintings. Many of his paintings appear in multiple autograph copies produced by Strozzi himself as was customary at the time.
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His many pupils and the large number of his paintings, which often appear in many versions, point to his reliance on the help of several assistants and the operation of a sizable workshop. Francesco Durello,
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style of painting had been brought to Genoa both by Domenico Fiasella, after his return from Rome in 1617–18, and by followers of Caravaggio who spent time working in the city, including
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of San Barnaba, he came to be called by the nickname "il Cappuccino" ("the Capuchin"). Since he was allowed to abandon his Capuchin habit for that of a priest, he was also known as
211:(it is unclear whether the two families were closely related). The artist worked on important public commissions. He realised altarpieces in the Chiesa degli Incurabili and the
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Brigstocke, Hugh. "Strozzi, Bernardo." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford Art Online. Oxford University Press. Web. 2 February 2017
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308:. He also worked as a still life painter and various of his compositions include still life elements. Religious compositions make up the majority of his works.
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Strozzi was likely inspired by Flemish genre scenes as well as the Caravaggist models to create a group of genre works. Best known of these works is
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Camillo Manzitti, "Gioacchino Assereto: tangenze giovanili con Bernardo Strozzi e nuove testimonianze figurative", in "Paragone, n. 663, Maggio 2005.
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Bernardo Strozzi was a versatile and prolific artist who worked on canvas and as a fresco artist. He treated a wide range of subjects including
665:(also known as Pietro Muttoni) also show the influence of Strozzi. He is further been regarded as a possible influence on the Spanish painter
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544:, Genoa) as well as the work of Jan Roos. These works reveal an intention to represent daily life without attaching any meaningful allusions.
440:(mid-1630s, Cleveland Museum of Art), which unites the robust forms and brilliant colours of Rubens with the warm atmosphere of Venetian art.
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By the end of the 1620s, Strozzi had started to synthesize a personal style which fused painterly influences of the North (including
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Chiara Krawietz. "Strozzi, Bernardo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 2 February 2017
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and his cousin Giovanni Stefano. The work is now almost entirely destroyed and is only known through a preparatory oil
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Still life with pink and white peonies in a glass vase and peaches, white roses and fruits on a ledge
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Nature morte avec une corbeille de fruits, un vase de fleurs et des fruits sur un entablement
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At the end of his career he also worked as an engineer. The artist died in Venice in 1644.
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for the vault depicting ‘’The Vision of Saint Dominic (Paradise)’’, located at the
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whose life and deeds formed the inspiration of the order. While a friar of the
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Strozzi was born in Genoa. He is not believed to be related to the Florentine
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Vienna) exudes a poetic mood likely derived from his study of the work of
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became one of his most prominent patrons. Strozzi likely painted the
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paintings as well as still lifes. Born and initially mainly active in
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His latest works are luminous and sketchy, as can be seen in the
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Pelican History of Art, Art and Architecture Italy, 1600–1750
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Still life with flowers in a glass vase and fruits on a ledge
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Still life with flowers in a glass vase and fruits on a ledge
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soon after he arrived in Venice. Other patrons included the
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to participate in this project included Antony van Dyck,
95:. Bernardo Strozzi initially trained in the workshop of
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Masterpieces of Italian Painting, The Walters Art Museum
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Bernardo Strozzi: Master Painter of the Italian Baroque
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although he remained known generally under the popular
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Della origine e delle vicende della pittura in Padova
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394:St. Lawrence Distributing the Riches of the Church
44:(c. 1581 – 2 August 1644), was an Italian
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859:, Metropolitan Museum of Art, 1996, pp. 85–89
690:Bernardo Strozzi, Genova 1581/82–Venezia 1644
970:Loire, Stephane (1995). "Bernardo Strozzi".
609:Still life of fruits and flowers in a basket
856:Genoa : drawings and prints, 1530–1800
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107:. He subsequently joined the workshop of
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713:(ed. by Jan Shoaf Turner), London, 1996
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716:Hansen, M.S. and J.Spicer, eds.,
704:La pittura veneziana del Seicento
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466:Rebecca and Eliezer at the Well
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960:at Adam Williams Fine Art Ltd.
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456:David with the Head of Goliath
149:Museo dell’Accademia Ligustica
16:Italian painter (c. 1581–1644)
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1177:17th-century Italian painters
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1007:Parable of the Wedding Guests
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461:Museum Boijmans Van Beuningen
437:Allegorical figure (Minerva?)
427:Parable of the Wedding Guests
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448:Portrait of a Maltese Knight
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996:at the Worcester Art Museum
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631:Giovanni Andrea de Ferrari
530:). This work goes back to
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268:Giovanni Andrea de Ferrari
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688:Gavazza, E. et al., eds.,
635:Giovanni Bernardo Carbone
528:Scottish National Gallery
130:(the 'genovese priest').
1182:Italian Baroque painters
1029:Portrait of Nicolò Raggi
1013:August 21, 2006, at the
933:at Galerie Canesso Paris
481:Kunsthistorisches Museum
339:and his followers. The
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870:Adoration of Shepherds
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1192:Italian male painters
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711:The Dictionary of Art
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357:Bartolomeo Cavarozzi
325:The Healing of Tobit
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950:Head of a Young Man
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227:Biblioteca Marciana
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393:
381:
376:
360:
333:
329:
324:
310:
302:genre scenes
291:
272:
252:
247:
237:
233:
221:
168:
164:
159:
132:
127:
109:Pietro Sorri
97:Cesare Corte
90:
85:
41:
37:
33:
32:
27:
23:
1167:1644 deaths
810:(in French)
679:, Madrid).
567:Still lifes
476:Lute Player
377:Lute Player
341:Caravaggist
54:allegorical
1156:Categories
740:References
397:(c. 1625,
365:(c. 1620,
337:Caravaggio
298:allegories
281:See also:
1202:Capuchins
1072:Pifferaio
624:Influence
491:Portraits
485:Giorgione
306:portraits
234:Monsignor
231:honorific
116:monastery
103:style of
101:Mannerist
1011:Archived
990:Archived
954:Archived
927:Archived
896:Archived
802:Archived
672:Veronica
584:The Cook
552:The Cook
537:The Cook
519:The Cook
498:Jan Roos
414:Veronese
186:Cardinal
183:Catholic
145:bozzetto
113:Capuchin
62:portrait
36:, named
902:at the
839:at the
667:Murillo
540:(1559;
430:(1636,
418:Jan Lys
403:impasto
294:history
288:General
50:history
46:Baroque
24:Vanitas
410:Rubens
70:Venice
618:Milan
217:tondo
136:Doria
66:Genoa
58:genre
645:and
600:The
576:and
504:and
420:and
412:and
355:and
304:and
277:Work
203:and
188:and
77:Life
60:and
40:and
1032:at
534:'s
26:or
1158::
1083:^
1053:,
1040:^
938:^
910:^
878:^
847:^
828:^
816:^
786:^
748:^
657:,
653:,
641:,
637:,
633:,
616:,
587:.
500:,
487:.
386:,
351:,
347:,
300:,
296:,
262:,
258:,
240:.
56:,
52:,
612:(
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