An còmhdach de Veronica
An Veil of Veronica Circa 1618-1622 le Peantair Eadailteach Domenico Fetti (1589 – 1623), peantair Baróc Eadailteach a tha gnìomhach sa mhòr-chuid san Ròimh, Mantua agus Venice.
Tha an dealbh seo de Chrìosd na dhealbh fìor tharraingeach a tha a’ sealltainn aghaidh Chrìosd mar a bha e air a ghluasad chun a’ bhrat a thug boireannaich do Chrìosd airson a mhala a ghlanadh., oir bha e air a thurus gu bhi air a cheusadh an làthair a mhàthar Màiri.
Tha The Veil of Veronica na ath-riochdachadh seann mhaighstirean ealain dhidseatach de ìomhaigh fearann poblach a tha ri fhaighinn air-loidhne airson a cheannach mar Clò-bhualadh roilled.
Fiosrachadh gu h-ìosal Foirm Wikipedia.org
Rugadh e anns an Ròimh do pheantair air nach robh mòran eòlach, Pietro Fetti, Thathas ag ràdh gun do rinn Domenico preantas an toiseach fo Ludovico Cigoli, neo an sgoilear aige Andrea Comodi anns an Ròimh bho timcheall air 1604–1613. Bha e an uair sin ag obair ann am Mantua bho 1613 gu 1622, air a ghlòrachadh leis a' Chàrdinal, later Duke Ferdinando I Gonzaga.
In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron’s studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions.
In August or September 1622, 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 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.
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.
A bharrachd air, he devoted attention to smaller cabinet pieces that adapt genre imaging to religious stories. His group of paintings entitled Parables, which represent New Testament scenes, are at the Dresden Gemäldegalerie. He influenced Leonaert Bramer.
His painting style appears to have been influenced by Rubens. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 no 1624.
Jan Lys, eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629 – 30.
Às dèidh sin, Fetti’s style would influence the Venetians Pietro della Vecchia and Sebastiano Mazzone. His pupils in Mantua were Francesco Bernardi (il Bigolaro) and Dionisio Guerri.
He also instructed his sister Lucrina in painting, and her works have sometimes been attributed to him.