Domenico Fetti [1]

Nationality : Italian Baroque painter, 1589-1623

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  • Title : David
  • Info : picture ID 35116-David.jpg

Oil Painting ID: 35116


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  • Title : Ecce Homo
  • Info : picture ID 35117-Ecce Homo.jpg

Oil Painting ID: 35117


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  • Title : Flight to Egypt
  • Info : picture ID 35118-Flight to Egypt.jpg

Oil Painting ID: 35118


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  • Title : Hero and Leander
  • Info : picture ID 35119-Hero and Leander.jpg

Oil Painting ID: 35119


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  • Title : Melancholy
  • Info : picture ID 35120-Melancholy.jpg

Oil Painting ID: 35120


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  • Title : Moses before the Burning Bush
  • Info : picture ID 35121-Moses before the Burning Bush.jpg

Oil Painting ID: 35121


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  • Title : Parable of the Good Samaritan
  • Info : picture ID 35122-Parable of the Good Samaritan.jpg

Oil Painting ID: 35122


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  • Title : Portrait of a Scholar
  • Info : picture ID 35123-Portrait of a Scholar.jpg

Oil Painting ID: 35123


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  • Title : Portrait of an Actor
  • Info : picture ID 35124-Portrait of an Actor.jpg

Oil Painting ID: 35124


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  • Title : Saint Mary Magdalene Penitent
  • Info : picture ID 35125-Saint Mary Magdalene Penitent.jpg

Oil Painting ID: 35125


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Fetti, Domenico
Domenico Fetti (also spelled Feti, c. 1589 - 1623) was an Italian Baroque painter active mainly in Rome, Mantua and Venice. Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604-1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, 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 formalised painting style became more painterly and colourful. In addition, 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 style appears to be influenced by Rubens. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. Jan Lys, eight years younger, but who had arrived in Venice nearly contemporaneously, died during the plague of 1629-30. Subsequently, Fetti's style would influence the Venetians Pietro della Vecchia and Sebastiano Mazzone.

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