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Giovanni
Martinelli was an assiduous adept of the allegorical representation. In perfect harmony with the climate of fervent philosophical and moral debate practised by the local Academies, he owned a remarkable skill in rendering a captious symbolism in his figures. His allegorical works are of rare
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The artist concentrated on rendering the elegance and beauty of the female figure. Most women protagonists in his paintings are illustrated with long and slender hands, slightly parted vermillion lips and the hair held in place by a ribbon, such as in the series of four
Allegories dedicated to the
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in 1847, his works however deserve far more attention. On the 400th anniversary of his birth, the artist finally received the acknowledgement he merits; He was the subject, first, of a monographic volume containing various essays dedicated to aspects of his brilliant sacred and profane production,
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Martinelli also dedicated a major part of his work to the painting of religious subjects and biblical stories, charging them with strong moral connotations. Among these, the extraordinary
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in
Florence and stayed there until 1625. Little is known about his early days as an artist. It however seems he was relatively successful, considering that the Commander of the
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The
History of Painting in Italy: From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
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Though there is no documented trace of the artist during the following ten years, he most likely sojourned in
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The artist's outstanding rendering of objects, regardless of the subject, reflects his interest for nature.
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During all these years, Martinelli also painted allegories characterized by the prevailing influence of
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The artist died in 1659, leaving a significant work that deserves far more commend than it received.
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Inexplicably ignored by biographers and art historians, Martinelli was long left in the shadows. As
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Giovanni
Martinelli pittore da Montevarchi. Maestro del Seicento fiorentino. Exhibition catalogue
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elegance and refined formal nobility, having little to envy to the other representatives of the
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both on canvas and in frescoes, and, subsequently, of an exhibition organized by the
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edited by A. Baldinotti, B. Santi, R. Spinelli (Montevarchi, Arezzo), Florence 2011.
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This article is about the
Florentine painter. For the Italian tenor, see
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By 1638, Martinelli completed a serie of frescoes for the
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Martinelli started his apprenticeship in the studio of
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Giovanni
Martinelli da Montevarchi pittore in Firenze
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419:, Musée des Ursulines,
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461:Saint Agueda cured by
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602:Italian male painters
136:Accademia del Disegno
121:Artemisia Gentileschi
568:at Wikimedia Commons
359:Musée des Beaux-Arts
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206:Judgement of Solomon
151:Certosa del Galluzzo
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169:, such as
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465:in Prison
337:in Prayer
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289:Astronomy
214:Karlsruhe
198:Ecce Homo
363:Chambéry
311:and the
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196:and the
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110:Pistoia
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43:Baroque
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335:Christ
317:, 1638
309:Christ
245:Uffizi
202:Uffizi
117:Orazio
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160:Works
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265:Noah
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