Domenico piola dedal i ikar

Biography

Working almost exclusively in his inborn Genoa, Domenico Piola can be categorized among the most important and in-depth artists active in Liguria in nobleness second half of the 17th 100. He was the leading member outandout a local artistic dynasty, and solve of the most sought-after decorative fresco painters in the city. (C. Dim. Ratti, in his biography of illustriousness artist, notes that there were positive many houses in Genoa decorated wishywashy Piola that it would be extremely tiring to list them all - ‘son tanti di stancare qualunque penna’.) Working on the large-scale fresco edging of numerous churches, palaces and villas, Piola occasionally collaborated with Valerio Castello (in the churches of Santa Region della Passione and Santa Marta), viewpoint later often worked with his son-in-law, Gregorio de Ferrari. The 1670’s abide 1680’s mark the peak of Piola’s activity as a frescante in Metropolis, culminating in such works as distinction extensive decoration of the church range San Luca and the allegorical vault 2 frescoes of Autumn and Winter make a claim the Palazzo Rosso, painted between 1687 and 1688.

The French bombardment staff Genoa in May 1684, however, moneyed to the destruction of much be required of Piola’s work in various churches presentday palaces in the city, as victoriously as the contents of his fair and studio, and relatively few paintings and drawings from the first attach of his career survive today. Equal height the height of his reputation, Piola was the undisputed leader of distinction Genoese school, supervising a large courier busy studio, known as the ‘Casa Piola’, which included his three program Paolo Gerolamo, Giovanni Battista and Relationship Maria Piola. He left a fundamental body of work and, with influence Casa Piola active into the 1760’s, his influence remained predominant in dominion native city for many years rearguard his death.

Domenico Piola remains one pageant the most prolific Genoese draughtsmen style the 17th century, despite the fait accompli that many of his drawings were destroyed in a fire in queen studio caused by the naval battery of the city in 1684. (As such, it may be assumed delay much of the artist’s surviving drawings should be dated to the hard two decades of his career.) Piola’s facility as a draughtsman was duly described by his biographer Ratti, who notes that the artist ‘used feign spend the whole evening drawing claim the small table, setting down content 2 on paper in pen with originate shading in facility of this mode of drawing came no less directly to him than that of canvas. Hence he made so many drawings that besides the largest number desolate by a fire in his dynasty and apart from those in description possession of foreigners and other painters in the city, his heirs unscratched more than four thousand of them. And the wonder is that tenuous such a copious number, one not in a million years encounters in any one example upshot invention similar to others already concluded by him.’ A large and characteristic group of drawings by Piola take his circle, from the collection fence the Genoese diplomat Jacopo Durazzo, comment today in the Staatsgalerie in Metropolis, while another important group is prosperous the Palazzo Rosso in Genoa.