01 Painting, Olympian and Roman deities, Francesco Trevisani’s LUCRETIA, with footnotes #192

Francesco Trevisani, 1656 – 1746
LUCRETIA, circa 1685–90
Oil on canvas
98.4 x 74.5 cm.; 38 3/4 x 29 1/4 in.
Private collection

Lucretia, legendary heroine of ancient Rome. According to tradition, she was the beautiful and virtuous wife of the nobleman Lucius Tarquinius Collatinus. Her tragedy began when she was raped by Sextus Tarquinius, son of Lucius Tarquinius Superbus, the tyrannical Etruscan king of Rome. After exacting an oath of vengeance against the Tarquins from her father and her husband, she stabbed herself to death. Lucius Junius Brutus then led the enraged populace in a rebellion that drove the Tarquins from Rome. The event (traditionally dated 509 BCE) marks the foundation of the Roman Republic. The story is first found in the work of the earliest Roman historian, Fabius Pictor (late 3rd century BCE). Its classic form is Livy’s version (late 1st century BCE). Lucretia’s story is also recounted in Shakespeare’s narrative poem The Rape of Lucrece. More on Lucretia

Francesco Trevisani (April 9, 1656 — July 30, 1746) was an Italian painter, active in the early Rococo or late Baroque period.

Born in Capodistria, he was the son of an architect, by whom he was instructed in the first rudiments of design. He then studied in Venice. He moved to Rome, where he remained until his death, in 1746. His brother, Angelo Trevisani remained a prominent painter in Venice.

In Rome, he was supported by Cardinal Pietro Ottoboni. He was also favored with the patronage of Cardinal Chigi. Chigi employed him in several considerable works, and recommended him to the protection of Pope Clement XI, who not only commissioned him to paint one of the prophets in San Giovanni Laterano, but engaged him to decorate the cupola of the cathedral in Urbino. He was employed by the Duke of Modena, in copying the works of Correggio and Parmigianino, and also painted in Brunswick, Madrid, Munich, Stockholm, and Vienna.

He became a member of the Academy of Arcadia in 1712. Trevisani died in Rome in 1746. More on Francesco Trevisani

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14 Works, November 26th. is Antonio Carneo’s day, his art, illustrated with footnotes #241

Carneo Antonio
Proof of poison, c. 1670-1680
Oil on canvas
175 x 178 cm
Ado Furlan Foundation

Depicting a young man who compresses his bowels in the presence of a group of bystanders who follow his spasms with apprehension or try to help him, it is described ab antiquo with the title with which it is still remembered today. However, since it is difficult to represent a generic poisoning scene (provoked or self-induced), one wonders whether the artist did not want to illustrate a specific character in the episode in question. Among the proposals advanced by scholars, that of the young Mithridates who undergoes the poison test in order to immunize himself remains one of the most plausible. More on this painting

Antonio Carneo (1637–1692) was an Italian painter, active in Friuli and Venice, and depicting both mythologic, allegoric, and religious canvases, as well as portraits…

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Tintoretto, Tarquin and Lucretia, c. 1578/80, 01 Paintings, PORTRAIT OF A LADY, Lucretia, with Footnotes. # 20

Tintoretto (Jacopo Robusti), Italian, 1518-1594

Tarquin and Lucretia, c. 1578/80

Oil on canvas

68 7/8 x 59 5/8 in. (175 x 151.5 cm)

The Art Institute of Chicago

Lucius Tarquinius Superbus, last king of Rome, being engaged in the siege of Ardea, sent his son, Sextus Tarquinius, on a military errand to Collatia. Sextus was received with great hospitality at the governor’s mansion, home of Lucius Tarquinius Collatinus. Collatinus’ wife, Lucretia, made sure that the king’s son was treated as became his rank, although her husband was away at the siege.

In a variant of the story, Sextus and Collatinus, at a wine party on furlough, were debating the virtues of wives when Collatinus volunteered to settle the debate by all of them riding to his home to see what Lucretia was doing. She was weaving with her maids. The party awarded her the palm of victory and Collatinus invited them to visit, but for the time being they returned to camp.

At night Sextus entered her bedroom by stealth, quietly going around the slaves who were sleeping at her door. She awakened. He identified himself and offered her two choices: she could submit to his sexual advances and become his wife and future queen, or he would kill her and one of her slaves and place the bodies together, then claim he had caught her having adulterous sex (see sexuality in ancient Rome for Roman attitudes toward sex). In the alternative story, he returned from camp a few days later with one companion to take Collatinus up on his invitation to visit and was lodged in a guest bedroom. He entered Lucretia’s room while she lay naked in her bed and started to wash her belly with water, which woke her up.

Tintoretto; born Jacopo Comin, (October, 1518 – May 31, 1594) was an Italian painter and a notable exponent of the Renaissance school. For his phenomenal energy in painting he was termed Il Furioso. His work is characterized by its muscular figures, dramatic gestures, and bold use of perspective in the Mannerist style, while maintaining color and light typical of the Venetian School.

In his youth, Tintoretto was also known as Jacopo Robusti as his father had defended the gates of Padua in a way that others called robust, against the imperial troops during the War of the League of Cambrai (1509–1516). His real name “Comin” has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. More on Tintoretto

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