Қатысушы:Айдос уики/зертхана: Нұсқалар арасындағы айырмашылық
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Айдос уики (талқылау | үлесі) Өңдеу түйіні жоқ |
Айдос уики (талқылау | үлесі) Өңдеу түйіні жоқ |
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[[File:Accademia - La Meditazione by Domenico Fetti 1618.jpg|thumb|''Magdalene in Meditation'' ([[Accademia, Venice]])]]
[[File:Domenico Fetti (Italian - Portrait of a Man with a Sheet of Music - Google Art Project.jpg |thumb |''Portrait of a Man with a Sheet of Music'' ([[Getty Museum]])]]
'''Доменико Фетти''' ({{lang-it|Domenico Fetti}}, [[1589]], [[Рим]] — [[1623]], [[Венеция]]) — [[барокко]] дәуіріндегі италяндық суретші.
==Biography==
1604–1613 жылы [[Рим]] қаласында туылған. Кейіннен 1613 және 1622 жылдар аралығында ол [[Мантуя]] қаласында жұмыс істей бастаған, Алғашында Кардинал қамқорлығына, кейіннен Фердинандо I Гонзаганың қамқорлығына алынған. Палаццо Дукале жерінде ол ''Miracle of the Loaves and Fishes'' суретін салған болатын. Жаңа өсиеттің репрезентациясын ол өзінің қамқоршысының кабинетінде орындады. Соңында бұл жұмыс жеке мамандық тудырды.<ref>Pamela Askew, "The Parable Paintings of Domenico Fetti." ''Art Bulletin'' '''43''' (1961:31–32], reprinted in ''Seventeenth Century Art in Italy, France and Spain'' (The Garland Library of the History of Art 8). New York, 1976.</ref> and he and his studio often repeated his compositions.<ref>Some examples: ''The Good Samaritan'', attributed to Fetti himself, ca 1618–22 ([[Metropolitan Museum of Art]]), repetitions by Fetti are in Boston and Dresden, as well as studio repetitions; ''Parable of the Mote and the Beam'', attributed, ca 1619 (Metropolitan Museum); ''Parable of Lazarus and the Rich Man'', workshop, ca 1618–1628 (National Gallery of Art, Washington DC).</ref>
In August or September 1622,<ref>Askew 1978.</ref> his feuds with some prominent Mantuans led him to move to [[Venice]], which for the first few decades of the seventeenth century had persisted in sponsoring [[Mannerist]] styles (epitomized by [[Palma the Younger]] and the successors of [[Tintoretto]] and [[Paolo Veronese|Veronese]]). Into this mix, in the 1620s–30s, three "foreigners"—Fetti and his younger contemporaries [[Bernardo Strozzi]] and [[Jan Lys]]—breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to [[Caravaggio]]-influenced realism and monumentality.<ref>See [[Alfred Moir]], ''The Italian Followers of Caravaggio.'' 2 vols. (Harvard University Press) 1967.</ref>
In Venice, where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalized painting style became more colorful. In addition, he devoted attention to smaller cabinet pieces that adapt [[Genre works|genre]] imaging to religious stories. His group of paintings entitled ''Parables'', which represent [[New Testament]] scenes, are at the [[Gemäldegalerie Alte Meister|Dresden Gemäldegalerie]]. He influenced [[Leonaert Bramer]].
His painting style appears to have been influenced by [[Peter Paul Rubens|Rubens]]. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. [[Jan Lys]], eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629–30. Subsequently, Fetti's style would influence the Venetians [[Pietro della Vecchia]] and [[Sebastiano Mazzone]]. His pupils in Mantua were [[Francesco Bernardi (painter)|Francesco Bernardi]] (il Bigolaro) and [[Dionisio Guerri]].<ref>[https://books.google.com/books?id=MhSkBGcaIBMC&pg=PA154 ''Le vite de' pittori, degli scultori, et architetti veronesi''], by Bartolomeo Dal Pozzo (1718), page 169.</ref>
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