As a child of nine, he was apprenticed under the Bolognese studio of Denis Calvaert. In later years, Reni traveled to Naples to complete a commission to paint a ceiling in a chapel of the San Gennaro. Reni's themes are mostly biblical and mythological. Reni also frescoed the Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. Reni's frescoed ceiling of the large central hall of the Casino dell'Aurora, located in the grounds of the Palazzo Pallavicini-Rospigliosi, is often considered his fresco masterpiece. Necessary cookies are absolutely essential for the website to function properly. His most distinguished pupil was Simone Cantarini, named Il Pesarese, who painted the portrait of his master now in the Bolognese Gallery. Art auction results, signatures and monograms of artist Guido Reni on Findartinfo For example, his altarpiece for Samson Victorious formulates stylized poses characteristic of mannerism. Do you think you may own a painting by Guido Reni? He is buried with Elisabetta Sirani in the Rosary Chapel of the Basilica of San Domenico in Bologna. I asked a question about Guido Reni in my previous post but forgot to ask if the signature on the lower corner of the picture resembled that of Reni. Reni died in Bologna in 1642. We'll assume you're ok with this, but you can opt-out if you wish. Returning to Bologna, more or less permanently, Reni established a successful and prolific studio. Reni completed commissions for his first altarpieces while in the Carracci academy. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annunciation) was assigned to Reni to paint. They went on to form the nucleus of a prolific and successful school of Bolognese painters who followed Annibale Carracci to Rome. In 1630, the Barberini family of Pope Urban VIII commissioned from Reni a painting of the Archangel Michael for the church of Santa Maria della Concezione dei Cappuccini. Born in Bologna into a family of musicians, Guido Reni was the son of Danieli Reni and Ginevra de’ Pozzi. Reni signature. In contrast his Crucifixion and his Atlanta and Hipomenes depict dramatic diagonal movement coupled with the effects of light and shade that betray the influence of Caravaggio. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also make our services available directly to private owners, art collectors, fine art investors, art speculators and treasure hunters. [35] A revival of interest in Reni has occurred since 1954, when an important retrospective exhibition of his work was mounted in Bologna. Reni's frescoed ceiling of the large central hall of the Casino dell'Aurora, located in the grounds of the Palazzo Pallavicini-Rospigliosi, is often considered his masterpiece. Reni, after departing Rome, alternately painted in a variety of styles, true to the eclectic tastes of many of Carracci trainees. The work is restrained in classicism, copying poses from Roman sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne in the Farnese. [1] Among the paintings of his last years are many unfinished works. His turbulent and violent Massacre of the Innocents (Pinacoteca, Bologna) is painted in a manner reminiscent of Raphael. Reni completed commissions for his first altarpieces while in the Carracci academy. His most distinguished pupil was Simone Cantarini, named “Il Pesarese,”; he painted a portrait of his master, now in the Bolognese Gallery. 276–81. According to his biographer Carlo Cesare Malvasia, Reni's need to recoup gambling losses resulted in rushed execution and multiple copies of his works produced by his workshop. Attached Images ... What you have is not a painting but an etching of a Guido Reni paintinting of Mary Magdalene. In 1602, Reni and Albani moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. He may also have trained with a painter by the name of Ferrantini. By late 1601, Reni and Albani had moved to Rome to work with the teams led by Annibale Carracci in fresco decoration of the Farnese Palace. Documents show that Reni was paid 247 scudi and 54 baiocchi upon completion of his work on 24 September 1616. [1] At the age of nine, he was apprenticed to the Bolognese studio of Denis Calvaert. Guido Reni (uitspraak: gwē'dō rĕ'nē) (Bologna, 4 november 1575 – aldaar, 18 augustus 1642) was een Italiaanse kunstschilder en graveur.. Als kind was hij regelmatig te vinden in de studio van de Vlaamse schilder Denis Calvaert in Bologna. Reni’s frescoed ceiling of the large central hall of garden palace, Casino dell’Aurora located in the grounds of the Palazzo Pallavicini-Rospigliosi, is considered his masterpiece.

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