Collection
Pietro Da Cortona
Explore curated art prints selected for distinctive homes and considered interiors.
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The Copper Age - Pietro da CortonaPrint
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Romulus and Remus Given Shelter by Faustulus - Pietro da CortonaPrint
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Ananias restoring the sight of Saint Paul - Pietro da CortonaPrint
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Holy Family Resting on the Flight to Egypt - Pietro da CortonaPrint
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The Triumph of Divine Providence - Pietro da CortonaPrint
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Landing of the Trojans at the Mouth of Tiberis - Pietro da CortonaPrint
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Ceiling Fresco with Medici Coat of Arms - Pietro da CortonaPrint
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The Age of Iron - Pietro da CortonaPrint
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The Alliance of Jacob and Laban - Pietro da CortonaPrint
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Madonna and Saints - Pietro da CortonaPrint
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The Return of Hagar - Pietro da CortonaPrint
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Artist Biography
Pietro Da Cortona
Pietro da Cortona was one of three men who defined Roman Baroque: Bernini in sculpture, Borromini in architecture, Cortona in painting. His ceiling fresco Allegory of Divine Providence and Barberini Power (1633 to 1639) in the Palazzo Barberini was a watershed in illusionistic painting, and the model for every Baroque ceiling that followed it.
He was born Pietro Berrettini in Cortona, Tuscany, around 1596 and trained in Rome under Andrea Commodi and Baccio Ciarpi. He served as head of the Accademia di San Luca from 1634 to 1638. His architectural works include the facades of Santa Maria della Pace and Santa Maria in Via Lata, making him one of the rare artists of the period to excel equally as painter, architect and interior decorator.
His frescoes in the Palazzo Pitti in Florence (1637 to 1647) were his other major decorative cycle. He died in Rome in 1669, at seventy-two.
His influence on Baroque ceiling painting was immediate and lasting: every illusionistic fresco produced in Rome for the next century took the Barberini ceiling as its starting point, whether following Cortona's method or reacting against it. Few single paintings have shaped an entire tradition so decisively.
He was born Pietro Berrettini in Cortona, Tuscany, around 1596 and trained in Rome under Andrea Commodi and Baccio Ciarpi. He served as head of the Accademia di San Luca from 1634 to 1638. His architectural works include the facades of Santa Maria della Pace and Santa Maria in Via Lata, making him one of the rare artists of the period to excel equally as painter, architect and interior decorator.
His frescoes in the Palazzo Pitti in Florence (1637 to 1647) were his other major decorative cycle. He died in Rome in 1669, at seventy-two.
His influence on Baroque ceiling painting was immediate and lasting: every illusionistic fresco produced in Rome for the next century took the Barberini ceiling as its starting point, whether following Cortona's method or reacting against it. Few single paintings have shaped an entire tradition so decisively.
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