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'''Viviano Codazzi''' (1611-72) is a [[Baroque]] landscape or vedute painter. Born in [[Bergamo]], he worked mostly in Rome and Naples. He painted in a style influenced by a circle of Dutch painters active in Rome, known as [[Bamboccianti]], including [[Pieter van Laer]]. He is best known as one of the earliest practitioners in Italy of painting architectural [[vedute]] of Rome and Roman ruins, both fanciful ([[capriccio]]) or realistic (''veduta realistica''). His son [[Niccolò Codazzi]] (1642-1693) was also a painter of vedute. Viviano was a strong influence on [[Canaletto]] and [[Bernardo Bellotto]]. His depiction of ''St. Peters Basilica'' in 1630<ref>[http://www.wga.hu/html/c/codazzi/rome.html]</ref> shows one of the last depictions of the facade without [[Bernini]]'s colonnade. |
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[[File:Viviano Codazzi and Filippo Lauri - Arches in ruins and Hecuba’s vengeance over Polymestor.jpg|thumb|290px|Arches in ruins and Hecuba’s vengeance over Polymestor]] |
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'''Viviano Codazzi''' (c. 1604 – 5 November 1670) was an Italian [[architectural painting|architectural painter]] who was active during the [[Baroque]] period. He is known for his [[architectural painting]]s, [[Capriccio (art)|capricci]], compositions with ruins, and some ''[[veduta|vedute]]''. He worked in [[Naples]] and [[Rome]]. He is known in older sources as ''Viviano Codagora'' or ''il Codagora.'' |
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==Life== |
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Viviano Codazzi was born in Valsassina near [[Bergamo]] around 1604.<ref name=tez>Ludovica Trezzani. "Codazzi, Viviano." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 Apr. 2016</ref> His family relocated to Rome by 1605. |
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[[File:Jan Miel and Viviano Codazzi - View of the Arch of Titus with horsemen at rest.JPG|thumb|left|230px|''View of the [[Arch of Titus]] with horsemen at rest'', figures by [[Jan Miel]]]] |
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Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the [[Certosa di San Martino]] resulting from his connections with his fellow Bergamasque [[Cosimo Fanzago]]. A major commission in Naples was a series of four large canvases representing ancient Roman scenes (including one depicting gladiatorial combats in the Colosseum) for the [[Palacio del Buen Retiro|Buen Retiro]] in Madrid, with figures by [[Domenico Gargiulo]]. Codazzi was a painter of architecture and the figures in his compositions were always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo. The artist married on 3 May 1636 Candida Miranda, from Naples. The couple had seven children of whom [[Niccolò Codazzi|Niccolò]] and Antonio became painters.<ref name=sca>[http://www.treccani.it/enciclopedia/viviano-codazzi_%28Dizionario_Biografico%29/ Giuseppe Scavizzi, ''CODAZZI, Viviano''], in: Dizionario Biografico degli Italiani - Volume 26 (1982)</ref> |
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After relocating to Rome following the revolt of [[Masaniello]] in 1647, he collaborated with painters from the circle of mainly [[Netherlands|Dutch]] and Flemish painters active in Rome who were known as the ''[[Bamboccianti]]''. His most frequent collaborators were [[Michelangelo Cerquozzi]] and [[Jan Miel]]. He further collaborated with [[Filippo Lauri]], [[Adriaen van der Cabel]] and [[Vicente Giner]] during the 1660s. [[Artemisia Gentileschi]] relied on Viviano Codazzi to paint in the architectural backgrounds in a number of her paintings. An example of such collaboration is the [[:File:David and Bathsheba by Artemisia Gentileschi.jpg|''Bathsheba'']] in the [[Columbus Museum of Art]].<ref>Keith Christiansen, Judith Walker Mann, ''Orazio and Artemisia Gentileschi'', Museo di Palazzo Venezia (Rome, Italy), Metropolitan Museum of Art (New York, N.Y.), St. Louis Art Museum, 2001, p. 416</ref> |
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Codazzi had several close followers, including [[Ascanio Luciano]] and [[Andrea di Michele]] in Naples, his son [[Niccolò Codazzi]] (1642–1693), [[Vicente Giner]] ( a native of Spain), and [[Domenico Roberti]]. In Northern Europe, artists such as [[Wilhelm Schubert van Ehrenberg]], [[Jacobus Ferdinandus Saey]], [[Jacob Balthasar Peeters]], [[Antoon Gheringh]] and [[Jan Baptist van der Straeten]] were also influenced or inspired by his work.<ref name=rkd>[https://rkd.nl/explore/artists/17450 Viviano Codazzi] at the [[Netherlands Institute for Art History]] {{in lang|nl}}</ref> |
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Viviano's son, Nicolo (Naples, 1642 - Genoa, 1693) was a painter of architectural paintings and capricci like his father.<ref>[https://books.google.com/books?id=A-HP0qg1O64C Le vie degli artisti : residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650–1699], by Laura Bartoni, Roma : Edizioni Nuova cultura, (2012), page 416.</ref> Another son called Antonio was also a painter but his work is not well known.<ref name=sca/> |
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Despite his intense artistic activity Viviano Codazzi was registered as poor in 1657. He resided in Rome except for brief absences (around 1653 and possibly between 1659 and 1666) until his death in Rome on 5 November 1670.<ref name=sca/> |
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==Work== |
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[[File:Viviano Codazzi - The Nativity in an ancient ruin.jpg|thumb|220px|The Nativity in an ancient ruin]] |
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Most of Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome.<ref name=chris>[http://www.christies.com/lotfinder/lot/alessandro-salucci-and-jan-miel-an-4794182-details.aspx?pos=1&intObjectID=4794182&sid=&page=5&lid=1 Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), ''An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay''] at Christie's</ref> Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter.<ref>David R. Marshall, ''The Roman Baths Theme from Viviano Codazzi to G. P. Panini: Transmission and Transformation'', in" Artibus et Historiae, Vol. 12, No. 23 (1991), pp. 129-159</ref> |
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The roots of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as [[Illusionistic ceiling painting#Quadratura|quadratura]]. These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings. |
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[[File:St-peter's-viviano-codazzi-prado-1630.jpg|thumb|297px|left|St. Peters Basilica]] |
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A number of artists practiced this genre. [[Alessandro Salucci]] was an important contemporary practitioner of the genre whose work was influenced by Viviano Codazzi.<ref name=chris/> Codazzi's vedute where generally more realistic than those of Salucci who showed somewhat greater creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions.<ref>[http://www.antiquares.it/acquista-online/importante-architettura-di-alessandro-salucci-firenze-1590-roma-dopo-il-1650/ Importante architettura di Alessandro Salucci (Firenze 1590-Roma dopo il 1650)] at Antiquares {{in lang|it}}</ref> Codazzi also did not adhere strictly to the dictations of topography and archaeology. His works show a search for architectural arrangements that evoke aesthetic harmony. Codazzi was acclaimed in his time as close to the ancient architect [[Vitruvius]] among 17th-century painters of architectural views. This recognition by his contemporaries was indicative of his mastery of linear perspective and understanding of antique taste.<ref>[https://www.dorotheum.com/it/aste/prossime-aste/kataloge/list-lots-detail/auktion/11382-dipinti-antichi/lotID/96/lot/1950739-viviano-codazzi-und-filippo-lauri.html Viviano Codazzi (Bergamo 1604–1670 Rome) and Filippo Lauri (Rome 1623–1694), ''Arches in ruins and Hecuba’s vengeance over Polymesto''] at Dorotheum</ref> |
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Codazzi's depiction of ''St. Peters Basilica'' dated 1636 is more a [[veduta]], i.e. a topographical view, than a capriccio.<ref>[http://www.wga.hu/html/c/codazzi/rome.html St Peters Basilica] in the [[Museo del Prado|Prado Museum]], Madrid</ref> It was painted in Naples and shows the old entrance to the Vatican palace, which was destroyed when Bernini's Scala Regia and colonnade were constructed, as well as clock towers (campanili) based on an engraving of a never-executed design by Martino Ferabosco. |
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One of his best known paintings is a depiction of the [[:File:Michelangelo Cerquozzi and Viviano Codazzi - The revolt of Masaniello.jpg|''Revolt of Masaniello in the Piazza del Mercato in Naples'']] in which the figures were painted by Cerquozzi. The work was made in 1648 on a commission by [[Cardinal Bernardino Spada]] and is now in the Galleria Spada in Rome. |
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==References== |
==References== |
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[[File:Viviano Codazzi - Courtyard of an Inn with Classical Ruins - Walters 371851.jpg|thumb|280px|''Courtyard of an inn with classical ruins'', figures by Domenico Gargiulo]] |
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*[http://www.wga.hu/bio/c/codazzi/biograph.html|Web Gallery of Art entry] |
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{{reflist}} |
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==Further reading== |
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*David R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome, Jandi Sapi, 1993 |
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==Other projects== |
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{{commons category-inline|Viviano Codazzi}} |
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{{Authority control}} |
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{{DEFAULTSORT:Codazzi, Viviano}} |
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[[Category: |
[[Category:1604 births]] |
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[[Category:1670 deaths]] |
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[[Category:Painters from Bergamo]] |
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[[Category:17th-century Italian painters]] |
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[[Category:Italian male painters]] |
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[[Category:Italian Baroque painters]] |
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[[Category:Landscape artists]] |
Latest revision as of 02:41, 1 May 2022
![](http://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Viviano_Codazzi_and_Filippo_Lauri_-_Arches_in_ruins_and_Hecuba%E2%80%99s_vengeance_over_Polymestor.jpg/290px-Viviano_Codazzi_and_Filippo_Lauri_-_Arches_in_ruins_and_Hecuba%E2%80%99s_vengeance_over_Polymestor.jpg)
Viviano Codazzi (c. 1604 – 5 November 1670) was an Italian architectural painter who was active during the Baroque period. He is known for his architectural paintings, capricci, compositions with ruins, and some vedute. He worked in Naples and Rome. He is known in older sources as Viviano Codagora or il Codagora.
Life
[edit]Viviano Codazzi was born in Valsassina near Bergamo around 1604.[1] His family relocated to Rome by 1605.
Viviano most likely trained in Rome. He had moved by 1633 to Naples where he worked on commissions at the Certosa di San Martino resulting from his connections with his fellow Bergamasque Cosimo Fanzago. A major commission in Naples was a series of four large canvases representing ancient Roman scenes (including one depicting gladiatorial combats in the Colosseum) for the Buen Retiro in Madrid, with figures by Domenico Gargiulo. Codazzi was a painter of architecture and the figures in his compositions were always painted in by specialist figure painters. In Naples his principal collaborator for the figures was Gargiulo. The artist married on 3 May 1636 Candida Miranda, from Naples. The couple had seven children of whom Niccolò and Antonio became painters.[2]
After relocating to Rome following the revolt of Masaniello in 1647, he collaborated with painters from the circle of mainly Dutch and Flemish painters active in Rome who were known as the Bamboccianti. His most frequent collaborators were Michelangelo Cerquozzi and Jan Miel. He further collaborated with Filippo Lauri, Adriaen van der Cabel and Vicente Giner during the 1660s. Artemisia Gentileschi relied on Viviano Codazzi to paint in the architectural backgrounds in a number of her paintings. An example of such collaboration is the Bathsheba in the Columbus Museum of Art.[3]
Codazzi had several close followers, including Ascanio Luciano and Andrea di Michele in Naples, his son Niccolò Codazzi (1642–1693), Vicente Giner ( a native of Spain), and Domenico Roberti. In Northern Europe, artists such as Wilhelm Schubert van Ehrenberg, Jacobus Ferdinandus Saey, Jacob Balthasar Peeters, Antoon Gheringh and Jan Baptist van der Straeten were also influenced or inspired by his work.[4]
Viviano's son, Nicolo (Naples, 1642 - Genoa, 1693) was a painter of architectural paintings and capricci like his father.[5] Another son called Antonio was also a painter but his work is not well known.[2]
Despite his intense artistic activity Viviano Codazzi was registered as poor in 1657. He resided in Rome except for brief absences (around 1653 and possibly between 1659 and 1666) until his death in Rome on 5 November 1670.[2]
Work
[edit]![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Viviano_Codazzi_-_The_Nativity_in_an_ancient_ruin.jpg/220px-Viviano_Codazzi_-_The_Nativity_in_an_ancient_ruin.jpg)
Most of Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome.[6] Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter.[7]
The roots of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as quadratura. These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/9/95/St-peter%27s-viviano-codazzi-prado-1630.jpg/297px-St-peter%27s-viviano-codazzi-prado-1630.jpg)
A number of artists practiced this genre. Alessandro Salucci was an important contemporary practitioner of the genre whose work was influenced by Viviano Codazzi.[6] Codazzi's vedute where generally more realistic than those of Salucci who showed somewhat greater creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions.[8] Codazzi also did not adhere strictly to the dictations of topography and archaeology. His works show a search for architectural arrangements that evoke aesthetic harmony. Codazzi was acclaimed in his time as close to the ancient architect Vitruvius among 17th-century painters of architectural views. This recognition by his contemporaries was indicative of his mastery of linear perspective and understanding of antique taste.[9]
Codazzi's depiction of St. Peters Basilica dated 1636 is more a veduta, i.e. a topographical view, than a capriccio.[10] It was painted in Naples and shows the old entrance to the Vatican palace, which was destroyed when Bernini's Scala Regia and colonnade were constructed, as well as clock towers (campanili) based on an engraving of a never-executed design by Martino Ferabosco.
One of his best known paintings is a depiction of the Revolt of Masaniello in the Piazza del Mercato in Naples in which the figures were painted by Cerquozzi. The work was made in 1648 on a commission by Cardinal Bernardino Spada and is now in the Galleria Spada in Rome.
References
[edit]![](http://upload.wikimedia.org/wikipedia/commons/thumb/7/76/Viviano_Codazzi_-_Courtyard_of_an_Inn_with_Classical_Ruins_-_Walters_371851.jpg/280px-Viviano_Codazzi_-_Courtyard_of_an_Inn_with_Classical_Ruins_-_Walters_371851.jpg)
- ^ Ludovica Trezzani. "Codazzi, Viviano." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 Apr. 2016
- ^ a b c Giuseppe Scavizzi, CODAZZI, Viviano, in: Dizionario Biografico degli Italiani - Volume 26 (1982)
- ^ Keith Christiansen, Judith Walker Mann, Orazio and Artemisia Gentileschi, Museo di Palazzo Venezia (Rome, Italy), Metropolitan Museum of Art (New York, N.Y.), St. Louis Art Museum, 2001, p. 416
- ^ Viviano Codazzi at the Netherlands Institute for Art History (in Dutch)
- ^ Le vie degli artisti : residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650–1699, by Laura Bartoni, Roma : Edizioni Nuova cultura, (2012), page 416.
- ^ a b Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's
- ^ David R. Marshall, The Roman Baths Theme from Viviano Codazzi to G. P. Panini: Transmission and Transformation, in" Artibus et Historiae, Vol. 12, No. 23 (1991), pp. 129-159
- ^ Importante architettura di Alessandro Salucci (Firenze 1590-Roma dopo il 1650) at Antiquares (in Italian)
- ^ Viviano Codazzi (Bergamo 1604–1670 Rome) and Filippo Lauri (Rome 1623–1694), Arches in ruins and Hecuba’s vengeance over Polymesto at Dorotheum
- ^ St Peters Basilica in the Prado Museum, Madrid
Further reading
[edit]- David R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome, Jandi Sapi, 1993
Other projects
[edit] Media related to Viviano Codazzi at Wikimedia Commons