{"id":39114,"date":"2016-05-12T15:52:31","date_gmt":"2016-05-12T14:52:31","guid":{"rendered":"https:\/\/www.archeoares.it\/?p=39114&lang=en"},"modified":"2016-07-01T09:53:40","modified_gmt":"2016-07-01T08:53:40","slug":"madonna-bambino-bartolomeo-cavarozzi","status":"publish","type":"post","link":"https:\/\/www.archeoares.it\/en\/art-history-section\/madonna-bambino-bartolomeo-cavarozzi\/","title":{"rendered":"Madonna and Child by Bartolomeo Cavarozzi"},"content":{"rendered":"
Oil painting on canvas
\n1625
\nBartolomeo Cavarozzi
\ncm. 128×212<\/address>\n

 <\/p>\n

The work of Viterbese painter Bartolomeo Cavarozzi, known as Bartolomeo de\u2019Cescenzi (the Roman family who protected him) shows a Madonna with Child in the classic style without any idealization or symbolism. The Madonna with Child is set in a natural environment: the dark Caravaggio style background exalts the naturalness of the two figures set in the foreground looking out at the spectator and illuminated by a light from the upper left corner. The drapery of the Virgin is shown in every detail giving volume to the figure. In the upper right hand corner is a hut with lighted window and a mountain. Cavarozzi emulated Caravaggio with such ability that some of their works can be confused. The style of his later years shows influences from his voyages. He worked with great fortune in Spain between 1617 and 1619 and became one of the artists who inspired works of Zurbar\u00e0n and Murillo. Some of Cavarozzi\u2019s works can be seen at the Prado in Madrid.<\/p>\n

This work comes from Sant\u2019Ignazio, Viterbo where it was on the main altar. Cesare Pinzi erroneously attributes it to Filippo Caparozzi, while critics Gaetano Coretini and Italo Faldi attribute it to Bartolomeo Cavarozzi. Keep in mind that F. Zero dates the \u201cMadonna Spada\u201d between 1624 and 1625 and the \u201cMadonna del Seminario\u201d (which could be identified with this work) done a few years earlier. Some works by Cavarozzi are visible at the Prado in Madrid.<\/p>\n

 <\/p>\n

BIBLIOGRAPHY<\/em><\/strong><\/h5>\n

– M. GALEOTTI, L’Illustrissima citt\u00e0 di Viterbo, Viterbo, 2006.
\n– I. FALDI, Pittori Viterbesi di cinque secoli, Roma, 1970.<\/a>
\n– “Bartolomeo Cavarozzi: Sacre Famiglie a confronto”, a cura di Daniele Sanguineti, catalogo della mostra, Milano 2005.
\n– G. SIGNORELLI, I pi\u00f9 antichi pittori viterbesi, in Bollettino municipale,Viterbo, 1934.
\n– F. ZERI, La mostra della pittura viterbese, in Bollettino d’Arte, Viterbo, 1955.
\n– G.PAPI, Bartolomeo Cavarozzi<\/em>, Soncino (CR), 2015<\/p>\n

 <\/p>\n

\"Sacra<\/a>
The Holy Family by Cavarozzi, Accademia Albertina, Turin<\/figcaption><\/figure>\n
\"250px-Cavarozzi_Sagrada_Familia_y_Santa_Catalina_Lienzo._256_x_170_cm._Museo_del_Prado\"<\/a>
The Holy Family and St. Catherine by Bartolomeo Cavarozzi, Museo del Prado, Madrid<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Oil painting on canvas 1625 Bartolomeo Cavarozzi cm. 128×212   The work of Viterbese painter Bartolomeo Cavarozzi, known as Bartolomeo de\u2019Cescenzi (the Roman family who protected him) shows a Madonna with Child in the classic style without any idealization or symbolism. The Madonna with Child is set in a natural environment: the dark Caravaggio style […]<\/p>\n","protected":false},"author":4,"featured_media":38289,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[870],"tags":[70,600,1344,1420,937,1421],"class_list":["post-39114","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-history-section","tag-bartolomeo-cavarozzi","tag-cavarozzi","tag-madonna-and-child","tag-museo-colle-del-duomo-en","tag-museum","tag-viterbo-en"],"_links":{"self":[{"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/posts\/39114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/comments?post=39114"}],"version-history":[{"count":6,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/posts\/39114\/revisions"}],"predecessor-version":[{"id":39947,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/posts\/39114\/revisions\/39947"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/media\/38289"}],"wp:attachment":[{"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/media?parent=39114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/categories?post=39114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.archeoares.it\/en\/wp-json\/wp\/v2\/tags?post=39114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}