Domenico piola dedal i ikar

Biography

Working almost exclusively in his preference Genoa, Domenico Piola can be designated among the most important and careful artists active in Liguria in excellence second half of the 17th c He was the leading member work at a local artistic dynasty, and adjourn of the most sought-after decorative fresco painters in the city. (C. Blurred. Ratti, in his biography of righteousness artist, notes that there were and over many houses in Genoa decorated make wet Piola that it would be as well tiring to list them all - ‘son tanti di stancare qualunque penna’.) Working on the large-scale fresco adornment of numerous churches, palaces and villas, Piola occasionally collaborated with Valerio Castello (in the churches of Santa Part della Passione and Santa Marta), avoid later often worked with his son-in-law, Gregorio de Ferrari. The 1670’s viewpoint 1680’s mark the peak of Piola’s activity as a frescante in Metropolis, culminating in such works as say publicly extensive decoration of the church blond San Luca and the allegorical roof frescoes of Autumn and Winter improvement the Palazzo Rosso, painted between 1687 and 1688.

The French bombardment flawless Genoa in May 1684, however, set in your ways to the destruction of much regard Piola’s work in various churches current palaces in the city, as vigorous as the contents of his fine and studio, and relatively few paintings and drawings from the first participation of his career survive today. Finish even the height of his reputation, Piola was the undisputed leader of illustriousness Genoese school, supervising a large charge busy studio, known as the ‘Casa Piola’, which included his three heirs Paolo Gerolamo, Giovanni Battista and Connection Maria Piola. He left a frivolous body of work and, with ethics Casa Piola active into the 1760’s, his influence remained predominant in jurisdiction native city for many years care for his death.

Domenico Piola remains one provide the most prolific Genoese draughtsmen honor the 17th century, despite the occurrence that many of his drawings were destroyed in a fire in realm studio caused by the naval onrush of the city in 1684. (As such, it may be assumed renounce much of the artist’s surviving drawings should be dated to the given name two decades of his career.) Piola’s facility as a draughtsman was accurately described by his biographer Ratti, who notes that the artist ‘used survive spend the whole evening drawing classify the small table, setting down gist on paper in pen with transpire shading in facility of this course of action of drawing came no less simply to him than that of canvas. Hence he made so many drawings that besides the largest number profligate by a fire in his terrace and apart from those in honourableness possession of foreigners and other painters in the city, his heirs without a scratch more than four thousand of them. And the wonder is that thwart such a copious number, one on no account encounters in any one example trace invention similar to others already ended by him.’ A large and retailer group of drawings by Piola turf his circle, from the collection follow the Genoese diplomat Jacopo Durazzo, not bad today in the Staatsgalerie in Metropolis, while another important group is revere the Palazzo Rosso in Genoa.