Federico Barocci

{{Short description|Italian painter (1535–1612)}} {{Use dmy dates|date=July 2023}} {{Infobox artist | name = Federico Barocci | image = Federico Barocci - Autoportrait.jpg | image_upright = 0.9 | caption = Self-portrait ({{circa|1600}}) | birth_name = | birth_date = {{circa|1535}}<ref>[http://www.artcyclopedia.com/artists/barocci_federico.html Federico Barocci] Artcyclopedia</ref> | birth_place = Urbino, Duchy of Urbino | death_date = 30 September 1612 | death_place = Urbino, Duchy of Urbino | known_for = Painting | training = | movement = {{flatlist| *Renaissance *Mannerism }} | notable_works = ''The Communion of the Apostles'' | patrons = | awards = }}

'''Federico Barocci''' (also written '''Barozzi'''){{sfn|Scannelli|1657|p=197}} ({{circa|1535}} – 30 September 1612) was an Italian Renaissance painter and printmaker. His original name was '''Federico Fiori''', and he was nicknamed '''Il Baroccio'''. His work was highly esteemed and influential, and foreshadows the Baroque works of Rubens. He is generally considered the greatest and most individual painter of his time in central Italy.{{sfn|Norwich|1985–1993|p=35}}

==Early life and training== thumb|''Annunciation'' (1592–96) <br />Oil on canvas, Santa Maria degli Angeli, Perugia.

He was born at Urbino, Duchy of Urbino, and received his earliest apprenticeship with his father, Ambrogio Barocci, a sculptor of some local eminence. He was then apprenticed with the painter Battista Franco Veneziano in Urbino. He accompanied his uncle, Bartolommeo Genga, to Pesaro, then in 1548 to Rome, where he worked in the pre-eminent studio of the day, that of the Mannerist painters, Taddeo and Federico Zuccari.

==Mature work in Rome and Urbino== After passing four years at Rome, he returned to his native city, where his first work of art was a ''St. Margaret'' executed for the Confraternity of the Holy Sacrament. He was invited back to Rome by Pope Pius IV to assist in the decoration of the Vatican Belvedere Palace at Rome, where he painted the ''Virgin Mary and infant, with several Saints'' and a ceiling in fresco, representing the ''Annunciation''.

During this second sojourn, while completing the decorations for the Vatican, Barocci fell ill with intestinal complaints. He suspected that a salad which he had eaten had been poisoned by jealous rivals. Fearing his illness was terminal, he left Rome in 1563; four years later he was said to experience a partial remission after prayers to the Virgin.<ref>{{cite web|url=https://docs.google.com/document/d/10-NGmyq0RuHLg6Z48MRR4UXJWSVpIq6M3tMZOpTqi-c/preview?usp=embed_facebook|title=Excerpt from Passion, Penance and Mystical Vision: Early Modern C|website=Google Docs}}</ref> Barocci henceforth often complained of frail health, though he remained productive for nearly four decades more. While he is described by contemporaries as personally somewhat morose and hypochondriacal, his paintings are lively and brilliant. Although he continued to have major altarpiece commissions from afar, he never returned to Rome, and was mainly patronised in his native city by Francesco Maria II della Rovere, duke of Urbino. The Ducal Palace can be seen in the background of his paintings, rendered in a forced perspective that seems a holdover from Mannerism. left|thumb|''Nativity'', 1597, oil on canvas, Museo del Prado, Madrid

While Barocci was removed from Rome, the fulcrum of artistic fame and influence, he continued to innovate in his style. At some point, he may have seen coloured chalk/pastel drawings by Correggio, but Barocci's remarkable pastel studies are the earliest examples of the technique to survive. In pastels and in oil sketches (another technique he pioneered), Barocci's soft, opalescent renderings evoke the ethereal. Such studies were part of a complex process Barocci used to complete his altarpieces. An organised series of steps leading up to the final product ensured its speed and success in execution. Barocci did innumerable sketches: gestural, compositional, figural studies (using models), lighting studies (using clay models), perspective studies, colour studies, nature studies, etc. Today, over 2,000 drawings by him are extant. Every detail of his subsequent cartoons for canvases was worked out in this way. A good example is his famed ''Madonna del Popolo'' (Uffizi). It is a vortex of colour and vitality, made possible by the great variety of people, poses, perspectives, natural details, colors, lighting and atmospheric effects. There are many surviving drawings for the ''Madonna del Popolo'', from initial sketches to colour studies of heads, to the final full-size cartoon. Despite this painstaking process, Barocci's genius kept the brushstrokes passionate and liberated, and a spiritual light seems to flicker as a jewel across faces, hands, drapery, and sky.

thumb|right|Federico Barocci, ''Madonna del Popolo'', 1579 Barocci's embrace of the Counter Reformation would shape his long and fruitful career. By 1566, he joined a lay order of Capuchins, an offshoot of Franciscans.<ref>Walter Friedlander, ''Burlington Magazine'' (1964), pp. 16–17, reviewing Harold Olsen's book.</ref> He may have been influenced by Saint Philip Neri, whose Oratorians sought to reconnect the spiritual realm with the lives of everyday people. Neri, who was somewhat ambivalent about the accumulating richness of his Santa Maria in Vallicella, commissioned two completed works from Barocci, the pre-eminent artist of these large pious altarpieces: ''The Visitation''<ref>{{cite web|url=http://www.romecity.it/Chiesanuova03.htm|title=Chiesanuova|website=www.romecity.it|access-date=1 November 2006|archive-date=30 December 2006|archive-url=https://web.archive.org/web/20061230194945/http://www.romecity.it/Chiesanuova03.htm|url-status=usurped}}</ref> (1583–6) and ''Presentation of the Virgin''<ref>{{cite web|url=http://www.romecity.it/Chiesanuova.htm|title=CHIESA NUOVA O SANTA MARIA IN VALLICELLA|website=www.romecity.it|access-date=1 November 2006|archive-date=1 January 2007|archive-url=https://web.archive.org/web/20070101034246/http://www.romecity.it/Chiesanuova.htm|url-status=usurped}}</ref> (1593–94). Neri is said to have been moved to ecstasy by Barocci's accomplishment in the former painting, which shows the Virgin and Elizabeth greeting each other.

In Urbino, where he painted a ''Descent from the Cross'' for the cathedral of San Lorenzo at Perugia. He again visited Rome during the papacy of Gregory XIII when he painted two admirable pictures for the Chiesa Nuova, representing the ''Visitation of the Virgin Mary to Elisabeth'' and the '' Presentation in the Temple'', and for the Chiesa della Minerva, a ''Last Supper''.<ref>{{cite book| first=Michael| last=Bryan| year=1886| title=Dictionary of Painters and Engravers, Biographical and Critical |volume=I: A–K |editor=Robert Edmund Graves |page=83| publisher=George Bell and Sons|location=London |url=https://books.google.com/books?id=4GYCAAAAYAAJ&q=DICTIONARY+AACHEN+AALST}}</ref>

==Critical assessment and legacy== The artist biographer Giovanni Pietro Bellori, the Baroque equivalent of Giorgio Vasari, considered Barocci to be among the finest painters of his time. Barocci's emotive brushwork was not lost on Peter Paul Rubens when he was in Italy. Rubens is known to have made a sketch of his dramatic ''Martyrdom of St Vitale'', in which the martyr's undulating flesh is the eye of another whirlwind of figures, gestures, and drama. Also, Rubens' ''The Martyrdom of St Livinus'' seems to owe much to Barocci, from the putto with the pointing palm frond to the presence of dogs in the lower right corner. Among the painters and artists who worked under Barocci are Antonio Cimatori (Visacci), Ventura Mazza, Antonio Viviani (il Sordo di Urbino), Giovanni Andrea Urbani, Alessandro Vitali, and finally Felice and Vincenzo Pellegrini. Barocci also had many who followed or were strongly influenced by his style, including Nicolo Martinelli (il Trometta), Giovanni Battista Lombardelli, Domenico Malpiedi, Cesare & Basilio Maggeri, Filippo Bellini, Giovanni Laurentini (Arrigoni), Giorgio Picchi, Giovanni Giacomo Pandolfi, Pietro Paolo Tamburini, Terenzio d’Urbino (''il Rondolino''), Giulio Cesare Begni, Benedetto Marini, Girolamo Cialdieri, Giovanni Battista Urbinelli, Alfonso Patanazzi, Gian Ortensio Bertuzzi, Cesare Franchi (il Pollino), Silla Piccinini, Benedetto Bandiera, Matteuccio Salvucci, Simeone Ciburri, Pietro Rancanelli, Onofrio Marini, Alessandro Brunelli, and Francesco Baldelli.<ref>[https://books.google.com/books?id=QfhYAAAAYAAJ Catalogo dei quadri che si conservano nella Pinacoteca Vannucci in Perugia], by Galleria Nazionale dell'Umbria, (1903) page 60.</ref>

Barocci's swirling composition and the focus on the emotional and spiritual are elements that foreshadow the Baroque of Rubens. But even in Federico's Proto-Baroque ''Beata Michelina'' can see the makings of Bernini's High Baroque masterpiece ''Ecstasy of St Theresa''.

==Partial list of works== {| class=wikitable ! width="40%" | Painting ! width="15%" | Date ! width="30%" | Site ! width="15%" | Image link |- valign="top" |''Martyrdom of St Sebastian'' | 1557 |Urbino Cathedral | |- valign="top" |''Madonna di San Simone'' |1567 |Galleria Nazionale delle Marche, Urbino |<ref>{{cite web|url=http://webpages.ursinus.edu/iverstegen/barocci.htm|title=Feedback|date=15 December 2005|archive-url=https://web.archive.org/web/20051215000206/http://webpages.ursinus.edu/iverstegen/barocci.htm|archive-date=15 December 2005}}</ref> |- valign="top" |''Deposition'' | 1567–69 |Perugia Cathedral | |- valign="top" |''Rest on the Flight into Egypt'' |c. 1573 |Pinacoteca Vaticana, Vatican |<ref>{{cite web|url=https://www.wga.hu/html/b/barocci/egypt.html|title=Rest on the Flight to Egypt by BAROCCI, Federico Fiori|website=www.wga.hu}}</ref>200px |- valign="top" |''Nativity'' | 1597 |{{lang|es|Museo del Prado}}, Madrid |frameless |- valign="top" |''The Vision of St Francis'' | |San Francesco, Urbino | |- valign="top" |''Madonna del Popolo'' | 1575–79 |Uffizi, Florence |frameless |- valign="top" |''Entombment'' |1580-2 |Chiesa della Croce, Senigallia | |- valign="top" |''Martyrdom of San Vitale'' | 1583 | Pinacoteca di Brera, Milan | <ref>{{cite web|url=https://pinacotecabrera.org/en/collezione-online/opere/martyrdom-of-saint-vitalis/|title=Martyrdom of St. Vitalis – Federico Barocci (Federico Fiori)|website=pinacotecabrera.org}}</ref> | |- valign="top" |''Portrait of a Young Man'' | {{circa|1580}}–85 | Musée des Beaux-Arts de Strasbourg | 200px |- valign="top" |''Circumcision'' | |Paris |frameless |- valign="top" |''Annunciation'' |1592–96 | Basilica of Santa Maria degli Angeli, Assisi, Perugia |<ref>{{cite web|url=https://www.wga.hu/html/b/barocci/annuncia.html|title=Annunciation by BAROCCI, Federico Fiori|website=www.wga.hu}}</ref> |- valign="top" |''Aeneas' Flight from Troy'' |1598 |Galleria Borghese, Rome |200px |- valign="top" |''St Jerome'' |1598 | Galleria Borghese, Rome |<ref>{{cite web|url=https://www.wga.hu/html/b/barocci/stjerome.html|title=St Jerome by Barocci, Federico Fiori|website=www.wga.hu}}</ref> |- valign="top" |''Portrait of Francisco II della Rovere'' |1572 |Uffizi, Florence | <ref>[http://www.ibiblio.org/wm/paint/auth/barocci/francesco.jpg Barocci] ibiblio.org</ref> |- valign="top" | ''Christ and Mary Magdalen'' (Noli me tangere) |1590 | Gemaldegalerie, Munich |<ref>{{cite web|url=http://www.pinakothek.de/en/federico-barocci|title=pinakothek.de – Federico Barocci|date=8 February 2013|archive-url=https://web.archive.org/web/20130208142628/http://www.pinakothek.de/en/federico-barocci|archive-date=8 February 2013}}</ref> |- valign="top" |''Entombment'' (etching) |1579–1582 |Getty Museum, Los Angeles |<ref>{{Cite web|date=3 April 2005|title=The Entombment (Getty Museum)|url=http://getty.edu/art/collections/objects/oz110.html|access-date=23 November 2021|archive-url=https://web.archive.org/web/20050403010511/http://getty.edu/art/collections/objects/oz110.html|archive-date=3 April 2005}}</ref> |- valign="top" |''Quintilia Fischeri'' |{{circa|1600}} |National Gallery of Art, Washington, D.C. |200px |- valign="top" |''Annunciation'' (etching) | | |{{citation needed span||date=November 2021}} |- valign="top" |''St Francis receives the stigmata'' (drawing) | |Accademia Carrara, Bergamo | |- valign="top" |''Madonna with Sts Simon and Jude'' | |Galleria Nazionale delle Marche, Urbino |<ref>{{cite web|url=http://www.theitalians.com.au/theitalians/Detail.cfm?IRN=161141&ViewID=3|title=The Italians : Three Centuries of Italian Art – Madonna and child with St Simon and St Jude -|date=3 November 2005|archive-url=https://web.archive.org/web/20051103042119/http://www.theitalians.com.au/theitalians/Detail.cfm?IRN=161141&ViewID=3|archive-date=3 November 2005}}</ref> |- valign="top" |''Vocation of Saints Peter and Andrew'' | 1586 | Royal Museums of Fine Arts of Belgium |{{citation needed span||date=November 2021}} |- valign="top" |''Madonna and Child with the Infant John the Baptist and St Joseph'' (''Madonna with the Cat'') | {{circa|1575}} | National Gallery, London |<ref>{{cite web|url=http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=ng29|title=The Madonna and Child with Saint Joseph and the Infant Baptist ('La Madonna del Gatto')|date=26 May 2006|archive-url=https://web.archive.org/web/20060526025334/http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=ng29|archive-date=26 May 2006}}</ref> |- valign="top"

|''Communion of the Apostles'' | {{circa|1603}}~1608 | Santa Maria sopra Minerva, Rome |frameless |- valign="top" |}

<gallery caption="Drawings by Federico Barocci photographed by Paolo Monti"> File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331282.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331283.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331284.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331285.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331286.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331287.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1972) - BEIC 6331288.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331289.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331290.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331291.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331292.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331293.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331294.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331295.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331296.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331297.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331298.jpg File:Paolo Monti - Servizio fotografico (Firenze, 1973) - BEIC 6331299.jpg File:Paolo Monti - Servizio fotografico - BEIC 6347005.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359446.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359447.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359448.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359449.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359450.jpg File:Paolo Monti - Servizio fotografico - BEIC 6359451.jpg </gallery>

==References== <references/>

==Sources== * {{Cite book|last=Scannelli|first=Francesco|url=https://books.google.com/books?id=nk7nw0GUJukC&q=Barozzi|title=Il microscomo della pittura|date=1657|publisher=Peril Neri|language=it}} * {{Cite book|last=Norwich|first=John Julius|title=Oxford illustrated encyclopedia|date=1985–1993|publisher=Oxford University Press|others=Judge, Harry George., Toyne, Anthony.|isbn=0-19-869129-7|location=Oxford [England]|pages=35|oclc=11814265}}

==External links== {{external media | width = 210px | float = right | headerimage=210px | video1 = [http://www.nationalgallery.org.uk/paintings/barocci-playlist/ Focus on: Barocci], (6:16) with four additional videos, National Gallery }} {{commons category-inline}} {{EB1911 poster|Barocci, Federigo}} * [http://www.thegreatcat.org/the-cat-in-art-and-photos-2/cats-art-16th-century/federico-barocci-1526-1612-italian/ Cats in Barocci's Paintings]. * [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/94303/rec/1 Prints & People: A Social History of Printed Pictures], an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on and by Federico Barocci (see index). * [https://docs.google.com/View?id=dk72hkh_0cx67qjzk#_ftnref1 Lisot, Elizabeth A. (2009). ''Passion, Penance and Mystical Union: Early Modern Catholic Polemics in the Religious Paintings of Federico Barocci'', excerpt from Univ. of Texas, Dallas, Ph.D. Dissertation.] See also: [http://www.google.com/profiles/113185545695720316295 Elizabeth Lisot, Ph.D.] * {{CathEncy|wstitle=Federigo Baroccio}} * {{cite book | first= Sydney J.| last= Freedberg| year=1993| title= Painting in Italy, 1500–1600| editor= Pelican History of Art| pages= 632–641 | publisher=Penguin Books Ltd }} * [https://artsandculture.google.com/exhibit/TALyTAv34wgyKw The Creative Process Behind Federico Barocci's Drawings], on Google Arts and Culture. * {{ws|Hagar and Ishmael}}, engraved by Emma Smith for The Easter gift, 1832, with a poetical illustration by Letitia Elizabeth Landon

{{DEFAULTSORT:Barocci, Federico}} Category:1530s births Category:1612 deaths Category:Painters from Urbino Category:16th-century Italian painters Category:Italian male painters Category:17th-century Italian painters Category:Italian Mannerist painters Category:Italian printmakers Category:Italian Roman Catholics Category:Capuchins Category:Catholic engravers Category:Catholic painters