Talk:Accademia di San Luca
|WikiProject Visual arts||(Rated Start-class)|
I've re-written this article to put the emphasis where I feel it belongs, namely the Academy's place in the art-wars of the late 16th/early 17th centuries and the birth of the Baroque. It was really quite important then, but I doubt it figured at all prominently in subsequent art history - it's difficult to see how it could, since Italy itself became an artistic backwater after Caravaggio. But if anyone has anything to offer on the later history of the Academy, of course they should add it. Incidentally, surely there are moer famous alumni of the Academy than this article currently allows? PiCo 03:48, 1 January 2006 (UTC)
The above statement is not factual.
First, the statement, "Italy did not become an artistic backwater after Caravaggio" is not factual. If not, please convince me that Bernini, Cortona, Lanfranco, Domenichino, Guercino, Reni, Magnasco, Crespi, Piazetta, Giordano, Tiepolo..... were backwater artists.
Second, while Caravaggio, while beloved by all and Robb as a revel, was active in Rome for less than two decades, and his departure was not due to disputes such as those stated. There are more intersting disputes between those in and outside the Academy, including Salvatore Rosa and others. I think the alumni mentioned are not those I would have chosen. A list of the Principi would include far more important names.
In addition, Federico Borromeo, was never for long in Rome and would not have mandated rules or any sort of program for the Academy. The Council of Trent mandates were suprisingly uninfluential in Rome and many other artisitic centers (perhaps Milan was an exception). Caravaggio was patronized by churchmen (albeit in a quite prickly manner). Carracci's ceiling (1597-1602) at the Farnese depicts pagan themes glamorizing love in both its erotic and heroic natures, and this was painted for a Cardinal.
The more interesting controversy for the Academy was that between Sacchi and Cortona, and in the next generations between insiders and outsiders to the ruling academicians.
- The statement about Rome becoming an artistic backwater in the 17th century is on the Talk page, not in the article - it's a personal opinion. And I hope I didn't state or imply that Caravaggio left Rome because of the Accademy, or indeed for any reasons connected with art. My problem in drafting this article was that Robb was just about the only source I had available. Yes, I agree, that's not nearly enough, and inevitably the result is distorted and incomplete. I feel that an article on the Academy is useful, and I want to see it done properly. Please feel very free to re-write the article completely if you want.PiCo 03:22, 6 November 2006 (UTC)