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Corrado Giaquinto Art Gallery of Bari verified

Bari, Apulia, Italy open Visit museumarrow_right_alt

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Corrado Giaquinto - Triumph of Joseph
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Antonio Piccinni - Self portrait
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Giuseppe Abbati - Peasant girl in the sun
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Giovanni Bellini - St. Peter martyr
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Giuseppe Amisani - Rirì (Abandonment)
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Ignacio de Leon y Escosura - Love declaration
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Mario Sironi - Mountain
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Vincenzo Irolli - Punished (The Punished Doll)
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Francesco Romano - Flower garden III
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Frans Pourbus - Portrait of a Gentlewoman
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Matthias Stom - St. Peter freed by the Angel
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Jacopo Robusti, detto Tintoretto - San Rocco and the plague victims
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Angelo Cives - The fakir
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Gaetano Martinez - The won
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Nativity scene depicting: Shoemaker's shop
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Creche
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St. Nicholas and stories from his life
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Santa Margherita and stories from her life
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Antonio Vivarini -  Madonna and Child Enthroned between San Benedetto and Santa Scolastica
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Female dress
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Stauroteca (recto)
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Stauroteca (verso)
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Crutch capital decorated with winged Sphinxes
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Albarello decorated with Virile Face
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Raffaele Belliazzi - The rest
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Marianna Elmo - Communion of St. Mary of Egypt
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Corrado Giaquinto - Saint Nicholas saves the castaways
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Marianna Elmo - Penitent Magdalene in ecstasy
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Corrado Giaquinto - Ulysses and Diomedes in the Resus tent
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Plate decorated with the Ecstasy of St. Francis of Assisi
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Institution of the Eucharist
Corrado Giaquinto - Triumph of Joseph
Antonio Piccinni - Self portrait
Giuseppe Abbati - Peasant girl in the sun
Giovanni Bellini - St. Peter martyr
Giuseppe Amisani - Rirì (Abandonment)
Ignacio de Leon y Escosura - Love declaration
Mario Sironi - Mountain
Vincenzo Irolli - Punished (The Punished Doll)
Francesco Romano - Flower garden III
Frans Pourbus - Portrait of a Gentlewoman
Matthias Stom - St. Peter freed by the Angel
Jacopo Robusti, detto Tintoretto - San Rocco and the plague victims
Angelo Cives - The fakir
Gaetano Martinez - The won
Nativity scene depicting: Shoemaker's shop
Creche
St. Nicholas and stories from his life
Santa Margherita and stories from her life
Antonio Vivarini -  Madonna and Child Enthroned between San Benedetto and Santa Scolastica
Female dress
Stauroteca (recto)
Stauroteca (verso)
Crutch capital decorated with winged Sphinxes
Albarello decorated with Virile Face
Raffaele Belliazzi - The rest
Marianna Elmo - Communion of St. Mary of Egypt
Corrado Giaquinto - Saint Nicholas saves the castaways
Marianna Elmo - Penitent Magdalene in ecstasy
Corrado Giaquinto - Ulysses and Diomedes in the Resus tent
Plate decorated with the Ecstasy of St. Francis of Assisi
Institution of the Eucharist

Other works on display

Description

The plaster, a unique work, was purchased in 1941 by the Professional Fascist Confederation and Artists, with the title The prisoner. Exhibited at the III Roman Biennale in 1925, it was noted as a sculpture of remarkable quality, made by a young Apulian artist whose "it is legitimate to foresee a happy future" (LANCELLOTT1, 1926, p. 96). In the work, performed in the artist's early Roman years, after a period of crisis and loneliness, almost "as a materialization of his own feeling of defeat" (VINNUTELLI, 1925, p. 134), influences and suggestions of a very different nature converge , ranging from Greco-Roman art to Michelangelo's work and Adolfo Wildt's sculptures. In all likelihood, the groups of figures in the pediments of the temple of Zeus in Olympia and the Belvedere Torso were decisive from antiquity, while Michelangelo's sculptures should be mentioned in the Medici tombs in the New Sacristy in San Lorenzo in Florence. Of Wildt's works, which had impressed Martinez, remember the headless torso Il crociato, from 1906 (dispersed bronze; plaster is found in Ca 'Pesaro, Galleria Internazionale d'Arte Moderna, Venice), the marble Vir temporis acti, 1911 (dispersed), which proposes a very similar torso, and in general the concept and treatment of the face, emaciated and smooth, interpreted as a mask of pain. And on a mask, of uncertain meaning - perhaps it is a reminder of the general theme of pain - the hands of the Vanquished rest, crossed behind his back. The introduction of the style of the torso was made necessary since only in this way, with the cut of the legs at the height of the knees, could the figure reach that closed, rounded shape desired by the artist.

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