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Franceschini had a long career painting canvases on religious and mythological subjects for patrons throughout Europe. Franceschini decorated some ceilings in the
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110:(1682) in Bologna. He helped paint in the tribune at church of San Bartolomeo Porta Ravegnana (1690). Franceschini frescoed the ceiling of the
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Numerous painters worked and trained in his prolific studio. Among those who spent time as pupils, apprentices, or assistants were
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357:(Slovakia) and the State Museums of Florence are among the public institutions holding paintings by Marcantonio Franceschini.
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influence of French artists was beginning to overtake the baroque tradition. Wittkower describes him as the "Bolognese
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223:. The sparse figures are severely arranged and often porcelain in features. He worked with a younger colleague,
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In Genoa, he also painted for the palaces
Spinola and the Palazzo Pallavicini (now PodestĂ ) (1715) of
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The
History of Painting in Italy; from period of the revival of the arts to the eighteenth century
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145:(1701â1704) were destroyed by a fire in 1777. These had been completed with the help of
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The Age of
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190:(1716) are now found in the Pinacoteca di Bologna. There are two canvases of the
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His paintings have an academic and idealist strain, even for a member of the
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Picture collector's manual adapted to the professional man, and the amateur
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81:(1678–81). He worked closely for many years with his brother-in-law,
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Miller, Dwight C. (1957). "Franceschini and the
Palazzo PodestĂ , Genoa".
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153:. In addition, his decorations of the pendentives and lunettes of the
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He painted the "cartoons" used to make the mosaic decoration of the
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were removed in the late 19th century. He decorated the church of
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His massive program of historical and mythological scenes in the
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Francis P. Smyth and John P. O'Neill (Editors in Chief) (1986).
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The frescoes in Corpus Domini were damaged during World War II.
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53:; 1648 – 24 December 1729) was an Italian painter of the
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Palazzo
Ranuzzi belongs to the Court of Appeals in Bologna.
529:. Washington: National Gallery of Art. pp. 450â453.
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by James R. Hobbes London T&W Boone 1845 page 154
176:. He also served as a buyer for the art-patron Prince.
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126:. He painted the altarpiece in the Cathedral of
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166:Seductions and Loves of the Diana and Venus
118:, commissioned in 1696 for the marriage of
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168:(1692-1700) for the Viennese palace (now
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510:. London: T&W Boone. p. 92.
57:period, active mostly in his native
227:. His style is often classified as
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579:. London: Henry G. Bohn. pp.
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634:17th-century Italian painters
561:. Penguin Books. p. 471.
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29:by Marcantonio Franceschini,
302:), Michelangelo Monticelli,
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141:of the Palazzo Ducale of
114:("Hall of Honor") in the
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609:Marcantonio Franceschini
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335:Kunsthistorisches Museum
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161:(1688â1694) in Bologna.
42:Marcantonio Franceschini
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316:Antonio Rossi (painter)
280:Carlo Cesare Giovannini
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312:Pietro Antonio Avanizi
308:Pietro Francesco Prina
116:Ducal Palace of Modena
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46:Italian pronunciation:
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649:Painters from Bologna
639:Italian male painters
611:at Wikimedia Commons
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349:(Parma, Italy), the
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260:Francesco Caccianiga
252:Tommaso Aldrovandini
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63:Giacomo Franceschini
441:Saint Mary of Egypt
276:Giacinto Garofalini
196:Pinacoteca B.P.E.R.
186:Canvases depicting
545:has generic name (
375:The Guardian Angel
214:Clementine Academy
155:Piacenza Cathedral
130:and the canvas of
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73:He was a pupil of
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23:Main altar,
629:1729 deaths
624:1648 births
286:the elder,
618:Categories
519:References
300:il Sansone
229:Barochetto
26:Visitation
535:cite book
407:Penitent
353:(Italy),
132:San Carlo
69:Biography
569:(1847).
557:(1993).
343:Macerata
573:(ed.).
361:Gallery
245:Maratta
233:baroque
194:in the
59:Bologna
55:Baroque
444:, 1680
377:, 1716
345:, the
333:, the
237:rococo
583:â160.
450:Notes
181:Genoa
172:) of
143:Genoa
79:Parma
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235:and
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