Sammlung
Luca Giordano
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Die Verkündigung - Luca GiordanoPrint · Framed · Canvas
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Judith präsentiert das Haupt des Holofernes - Luca GiordanoPrint
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Venus bestraft Psyche mit einer Aufgabe - Luca GiordanoPrint
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Die Entführung der Europa - Luca GiordanoPrint
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Die Auferstehung – Luca GiordanoPrint
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Psyches Schwestern geben ihr eine Lampe und einen Dolch – Luca GiordanoPrint
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Der junge Christus lehrt im Tempel - Luca GiordanoPrint
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Dives und Lazarus - Luca GiordanoPrint
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Die Jungfrau und das Kind erscheinen dem Heiligen Franz von Assisi – Luca GiordanoPrint
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Heraklit und Demokrit, rechter Flügel - Luca GiordanoPrint
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Das Gleichnis vom verlorenen Sohn: Das gemästete Kalb – Luca GiordanoPrint
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Bacchus und Ariadne – Luca GiordanoPrint
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Christus und die Ehebrecherin - Luca GiordanoPrint
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Der Fall der rebellischen Engel - Luca GiordanoPrint
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Die Versuchung Christi, Steine in Brot zu verwandeln – Luca GiordanoPrint
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Der Triumph der Galatea - Luca GiordanoPrint
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Pilatus wäscht seine Hände – Luca GiordanoPrint
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Die Geburt der Jungfrau - Luca GiordanoPrint
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Messina kehrt nach Spanien zurück – Luca GiordanoPrint
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Psyche entdeckt den schlafenden Amor - Luca GiordanoPrint
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Demokrit - Luca GiordanoPrint
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Platon - Luca GiordanoPrint
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Der Raub der Helena – Luca GiordanoPrint
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Der Triumph der Judith - Luca GiordanoPrint
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Artist Biography
Luca Giordano
Giordano admitted he had a gold brush, a silver brush and a bronze brush. The quality of his paintings ranged from brilliant to mediocre depending on how much attention he gave them, and he gave attention unevenly because he painted faster than anyone in seventeenth-century Europe. His nickname was Luca fa presto: Luca paints quickly. He reportedly completed a large altarpiece in a single day.
He was born in Naples in 1634 and trained under Jusepe de Ribera. Around 1652 he travelled to Rome, where he absorbed Pietro da Cortona's Baroque dynamism and studied the High Renaissance masters. His other nickname, Proteus, came from his ability to produce convincing pastiches in the style of almost any painter: Durer, Titian, Veronese. The skill was admired rather than criticised; versatility was a virtue in Baroque Naples.
In 1692, Charles II of Spain invited him to Madrid, where he spent ten years painting frescoes in the Escorial, the Royal Palace and other buildings. His Spanish work is among his best: the scale suited his ambition, and the court demanded the gold brush. He returned to Naples in 1702 after the king's death.
His late paintings, lighter and less rhetorical than his Roman-influenced middle period, anticipated the Rococo. Fragonard admired them a generation later. Giordano was generous with money, particularly to poorer artists, and spent large sums on acts of patronage and charity. His output was enormous, running to thousands of works across oil and fresco. He died in Naples in 1705, at seventy.
He was born in Naples in 1634 and trained under Jusepe de Ribera. Around 1652 he travelled to Rome, where he absorbed Pietro da Cortona's Baroque dynamism and studied the High Renaissance masters. His other nickname, Proteus, came from his ability to produce convincing pastiches in the style of almost any painter: Durer, Titian, Veronese. The skill was admired rather than criticised; versatility was a virtue in Baroque Naples.
In 1692, Charles II of Spain invited him to Madrid, where he spent ten years painting frescoes in the Escorial, the Royal Palace and other buildings. His Spanish work is among his best: the scale suited his ambition, and the court demanded the gold brush. He returned to Naples in 1702 after the king's death.
His late paintings, lighter and less rhetorical than his Roman-influenced middle period, anticipated the Rococo. Fragonard admired them a generation later. Giordano was generous with money, particularly to poorer artists, and spent large sums on acts of patronage and charity. His output was enormous, running to thousands of works across oil and fresco. He died in Naples in 1705, at seventy.
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