Francesco Solimena [1] - Hand painted oil painting reproductions

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Francesco Solimena - Allegory Of Reign

ID : 35407
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Francesco Solimena - Dido Receiving Aeneas And Cupid Disguised As Ascanius

ID : 35408
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Francesco Solimena - Judith With The Head Of Holofernes

ID : 35409
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Francesco Solimena - Rebecca And Eliezer At The Well

ID : 35410
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Francesco Solimena - Saint Cajetan Appeasing Divine Anger

ID : 35411
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Francesco Solimena - St Bonaventura Receiving The Banner Of St Sepulchre From The Madonna

ID : 35412
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Francesco Solimena - The Martyrdom Of Sts Placidus And Flavia

ID : 35413
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Francesco Solimena - The Massacre Of The Giustiniani At Chios

ID : 35414
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Francesco Solimena - The Royal Hunt Of Dido And Aeneas

ID : 35415
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Francesco Solimena
Francesco Solimena (October 4, 1657 — April 3, 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Francesco Solimena was born in Canale di Serino, near Avellino. He received early training from his father, Angelo Solimena, with whom he executed a Paradise for the cathedral of Nocera (place where he spend a big part of his life) and a Vision of St. Cyril of Alexandria for the church of San Domenico at Solofra. He settled in Naples in 1674, there he worked in the studio of Francesco di Maria and later Giacomo del Po[1]. He apparently had taken the clerical orders, but was patronized early on, and encouraged to become an artist by Cardinal Vincenzo Orsini (later Pope Benedict XIII). By the 1680s, he had independent fresco commissions, and his active studio came to dominate Neapolitan painting from the 1690s through the first four decades of the 18th century. He modeled his art—for he was a highly conventional painter—after the Roman Baroque masters, Luca Giordano and Giovanni Lanfranco, and Mattia Preti, whose technique of warm brownish shadowing Solimena emulated. Solimena painted many frescoes in Naples, altarpieces, celebrations of weddings and courtly occasions, mythological subjects, characteristically chosen for their theatrical drama, and portraits. His settings are suggested with a few details—steps, archways, balustrades, columns—concentrating attention on figures and their draperies, caught in pools and shafts of light. Art historians take pleasure in identifying the models he imitated or adapted in his compositions. His numerous preparatory drawings often mix media, combining pen-and-ink, chalk and watercolor washes.

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