Domenichino

Zampieri, called Domenichino, Domenico
Zampieri, Domenico

Italian, 1581 - 1641

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A nearly nude man and woman look up at a bearded man floating in front of a billowing red drapery in midair, accompanied by five chubby children in this horizontal painting. All the people have pale or peachy skin. The man and woman on the ground, Adam and Eve, take up the left half of the composition and are shown near a grove of trees. Adam, to our right in the pair, stands with knees bent, his body facing us. He holds both open hands, palm up, toward Eve, to our left. His head tips to our right and he looks up at the bearded man, God, with dark eyes under raised brows. Adam has a brown beard and curly hair. He wears a ring of leaves across his hips but is otherwise nude. His cheek and nose, hands, knees, and toes are pink, and muscles stand out on his torso, arms, and legs. To our left, Eve kneels on one knee and braces her other leg on her splayed toes. Her body is angled to our left, and she turns back to look up at Adam. She has long blond hair, and her skin is more pale than the others. She also wears leaves around her hips, and her torso and legs are bare. Her left hand, closer to Adam, rests on her thigh. With her other hand, she points to a striped snake on the ground. The trees behind them have dark green leaves and yellow fruit. The dirt ground beneath them has some scrubby green growth. Close to Adam, God and his attendants float above a lion and a lamb on the ground, all taking up the right half of the composition. God’s gray beard and hair blow back as if in a wind. He wears a topaz-blue, knee-length toga. His body faces us, and he leans to our left, almost horizontally, toes pointed off to our right. He reaches his right arm, to our left, toward Adam. His other arm stretches out and rests on a black orb, about the size of a basketball. He is supported to our left by two child-like angels, wearing brick red or golden yellow robes. Three smaller children, like toddlers, gather around the black orb. The red cloth billowing around God and the angels creates a shell-like form that surrounds them. The white lamb lies below and looks at Adam and Eve, and the lion crouches and looks off to our left. Trees and grassy knolls lead back to distant, blue hills. A horse and bear stand, tiny in scale, in the distant landscape. The horizon comes about halfway up the painting, and the vivid blue sky above is clear. In the lower right corner, the inventory number “F.7” is painted in yellow. — Domenichino, The Rebuke of Adam and Eve, 1626, oil on canvas, Patrons' Permanent Fund, 2000.3.1

The Rebuke of Adam and Eve

Domenichino · 1626 · oil on canvas · 2000.3.1

This is a painting featuring dynamic figures interacting. The central figure is holding a lifeless child over his shoulders, surrounded by various women expressing concern and despair. The setting implies turmoil and helplessness, portrayed with fine detailing, expressive forms, and chiaroscuro. The style is reminiscent of Peter Paul Rubens. — Johann Peter Pichler, Domenichino, Der rasende Herkules (Raging Hercules), 1797, mezzotint on laid paper, laid down, Ruth and Jacob Kainen Memorial Acquisition Fund, 2018.106.2

Der rasende Herkules (Raging Hercules)

Johann Peter Pichler, Domenichino · 1797 · mezzotint on laid paper, laid down · 2018.106.2

The image shows a group of figures posed in various positions. In the center, a muscular man is seated holding a bow with his gaze down. Surrounding him are additional figures - to his right, a cherubic figure with wings, and to his left and in front of him, three standing figures partially draped in classical garb. Another person sits on the right, leaning slightly forward. The standing individuals are elegantly clothed in flowing garments and have intricate hairstyles. One of them seems to be holding an arrow, which might be intended for the central figure. The background is a neutral gradient darkening towards the top, and there is a large draped curtain on the left. The image is monochromatic. — Johann Peter Pichler, Der Triumph der Omphale (The Triumph of Omphale), 1797, mezzotint on laid paper, laid down, Ruth and Jacob Kainen Memorial Acquisition Fund, 2018.106.1

Der Triumph der Omphale (The Triumph of Omphale)

Johann Peter Pichler · 1797 · mezzotint on laid paper, laid down · 2018.106.1

The image shows a sketch of a seated person reading a book. The person is depicted from head to waist, with detailed facial features and a beard. He has curly hair and is wearing simple drapery. There is a large open book with visible text and a wooden object nearby. A cross is shown on the side of the book. The background consists of simple sketched lines framing the figure. — Johann Gottlieb Prestel, Saint Jerome, 1782-1785, etching, Rosenwald Collection, 1948.11.277

Saint Jerome

Johann Gottlieb Prestel · 1782-1785 · etching · 1948.11.277

This is a drawing of a group of figures in an intense and dramatic narrative scene. Several male figures are in the foreground around a table, with one figure lying down and being restrained while another is whipping them. In the background, more figures are watching through large window columns, with structures resembling classical architecture and a distant landscape. The artwork is rendered in a detailed line style, likely from the Baroque period or a similar era known for its emphasis on human emotion and physicality. — Carlo Maratta, Martyrdom of Saint Andrew, etching, Ailsa Mellon Bruce Fund, 1973.54.11

Two Bearded Men in Antique Dress [p. 49] from Roman Sketchbook: Landscapes, Genre Scenes, Works of Art

Wilhelm Kandler · 1844 · graphite on wove paper from a bound sketchbook with 65 graphite drawings on wove paper · 2013.96.26

[Choix des meilleures statues antiques]

Angelo Campanella, Antonio Capellan, Giovanni Volpato, Domenico Cunego, Camillo Tinti, Francois Joseph Lonsing, Giuseppe Sforza Perini, Francesco Piranesi · published 1780/1792 and 1793 · 2 books bound in 1 vol: part 1: ill: 40 etching and engravings (4 double-page, rest full-page, versos blank) all by Francesco Piranesi with 19 after Tommaso Piroli, 14 after Ludovico Carazzari, 3 after Bernardino Nocchi, 2 after Lorenzo Rocchegiani, 1after after Baptiste Gagneraux; part 2: ill: 40 etching and engraving (including title page, all full-page versos blank) after paintings by various artists with 21 by Domenico Cunego, 8 by Giovanni Volpato, 4 by Antonio Capellani, 3 by Camillo Tinti, 1by Angelo Campanello, 1 by François Lonsing, 1 by Joseph Perini · 1985.61.2615