#baldassare peruzzi

[lionofchaeronea]

Title: Crouching Figure of Atlas Artist: Baldassare Peruzzi (Italian, 1481-1536) Date: unknown Genre: figure study; mythological art Period: High Renaissance (Cinquecento) Medium: Pen and brown ink, over leadpoint or black chalk Dimensions: 20.6 cm (8.2 in) high x 13.4 cm (5.3 in) wide Location: Metropolitan Museum of Art

[theogonyofbeauty]

The river gods console their brother over Daphne's fate.

The river gods are the offspring of the Titans Oceanus and Tethys, and the brothers of the Oceanids.

[fenrisulfrlokidottir]

Душа всегда радуется изгибам...

Как хорошо мне делает спиралевидная форма лестницы на Villa Farnesina. Она вдохновлена лестницей Браманте (в смысле, настоящей с балюстрадой колонн) но эта лестница мне нравится больше, она теплее, наряднее и интимнее с прекрасным освещением и куполом. Когда кардинал Алессандро Фарнезе возобновил строительство виллы, он пригласил архитектора Джакомо да Виньола. Фрески парадной лестницы - Антонио Темпеста. Но моя любовь к Villa Farnesina началась с другой лестницы: на поляне между деревьями, открывается великолепный вид на Большой сад, работа над которым началась в 1565 году под руководством Giacomo del Luca. Два павильона расположены по сторонам от лестницы, в центре которой величественная водная цепь, обрамленная скульптурами дельфинов, а в конце или лучше сказать в начале, нас встречают два гиганта у которых и берет начало водное русло фонтана.

1506

Архитектор: Бальдассаре Перуцци

[less-ismore]

Baldassare Peruzzi, Crouching Figure of Atlas, undated.

MET Museum

[livesunique]

Sala delle Prospettive by Baldassare Peruzzi,

Villa Farnesina, Roma, Italy 

[lostprofile]

Renaissance Architectural Drawings

1. FIRENZE U2A

Baldasarre Peruzzi Design for Basilica of St Peter, Rome 1505 Firenze, Galleria degl Uffizi, Gabinetto dei Disegni e delle Stampe, 2A.

Peruzzi’s early axonometric drawing of St Peter’s “is a masterpiece of architectural draftsmanship: an extraordinary reflection on the very act of drawing architecture and a staple of Renaissance architectural history courses.” It was rediscovered at the instigation of the Swiss architectural historian Heinrich von Geymüller in the Uffizi drawings collection in 1878.

More on this drawing.

[italianartsociety]

By Jennifer D. Webb

Baldassare Peruzzi, architect of St. Peter’s and for the Republic of Siena, died in Rome on January 6, 1537. His career started in Siena, very near to the place where he was born, Ancaiano, on January 15, 1481.

Peruzzi may have trained with Francesco di Giorgio Martini as his design for the Villa Le Volte illustrates his command of the designs of the older Sienese architect and engineer. Like Francesco di Giorgio, Peruzzi’s career involved the design of buildings as well as responsibility for fortifications. In addition, both men relied on drawing to experiment with forms. Nicholas Adams notes that more than 500 Peruzzi drawings survive in the Gabinetto dei Disegni in the Uffizi and that the architect was the first to explore axonometric drawing.

There is no official documentation of Peruzzi until 1501-02 when he is recorded working on the frescoes in the Chapel of San Giovanni in the Siena Cathedral. At about the same time, from 1500 to 1505, Peruzzi was constructing the Villa Le Volte for Sigismondo Chigi. This first project for the Chigi family proved invaluable for his career development. After completing the Sienese project, he next traveled to Rome where, in 1503, he was assisting in the Stanza della Segnature. In 1505 he began work on the Villa Farnesina for Agostino Chigi. For this project Peruzzi not only drew from his architectural experience in Siena but also displayed his skill in disegno. Working alongside Raphael and his workshop, Peruzzi completed ceiling frescoes and illusionistic perspectives in the villa’s interiors.

His career as architect, painter, and stage designer continued to flourish in Rome. By 1508 he joined the Compagna di San Rocco and in 1520, following the death of Raphael, he was named coadjutore at Saint Peter’s.

Peruzzi’s time in Rome has disrupted by the Sack in 1527; he was imprisoned by the French forces. The Republic of Siena paid his ransom and it is likely because of this that Peruzzi headed straight to Tuscany upon his release. He was named the Architect of the Republic of Siena upon his arrival in the city in July. For the next several years, he worked on a number of projects in Siena and in the surrounding areas including the “reorganization” of the high altar and the choir of the Cathedral. However, by 1531, his focus had returned to Rome where he again was involved with Saint Peter’s and, in 1532, began his final project, the Palazzo Massimo alle Colonne.

References: Heiko Damm & Henning Hoesch. Galleria portatile: Old Master Drawings from the Hoesch Collection. Petersburg: Michel Imhof Verlag, 2017; Nicholas Adams. “Peruzzi, Baldassare.” Grove Art Online. Oxford Art Online. Oxford University Press.

Images:

Villa Farnesina (from 1506), Rome (Image source: Combusken, Wikimedia Commons)

Main altar (after July 1527), Duomo, Siena (Image source: Tango7174, Wikimedia Commons)

Palazzo Massimo alle Colonne (begun 1532), Rome (Image source: Jensens, Wikimedia Commons)

Further reading: Malafarina, Gianfrano. La Villa Farnesina a Roma (The Villa Farnesina in Rome). Modena: Panini, 2006; Kent, William Winthrop. The Life and Works of Baldassare Peruzzi of Siena. Whitefish MT: Kessinger Publishing LLC, 2007; “Holy Family with Saints”, Pierpont Morgan Library & Museum.

[jzaphotography]

Villa Farnesina: 1506 Baldassare Peruzzi, Giuliano da Sangallo See More at jza.photography