Accademia di San Luca
 St. Luke Displaying a Painting of the Virgin by Guercino | |
| Named after | St. Luke |
|---|---|
| Formation | 1577 |
| Founded at | Rome |
| Type | Association of artists |
| Purpose | Elevating the work of "artists" |
| Leader | Federico Zuccari |
| Secessions | Accademia Nazionale di San Luca |
Formerly called | Compagnia di San Luca |
The Accademia di San Luca, (the "Academy of Saint Luke") was founded in 1577 as an association of artists in Rome (under the directorship of Federico Zuccari from 1593[1]), with the purpose of elevating the work of "artists", which included painters, sculptors and architects, above that of mere craftsmen. Other founders included Girolamo Muziano and Pietro Olivieri. The Academy was named after Saint Luke the evangelist who, legend has it, made a portrait of the Virgin Mary, and thus became the patron saint of painters' guilds.
From the late 16th century until it moved to its present location at the Palazzo Carpegna, it was based in an urban block by the Roman Forum and although these buildings no longer survive, the Academy church of Santi Luca e Martina, does. Designed by the Baroque architect, Pietro da Cortona, its main facade overlooks the Forum.
Contents
1 History
2 The Cortona-Sacchi Debate and other artistic issues
3 Recent times
4 Principi
5 External links
6 References
History
The Academy's predecessor was the Compagnia di San Luca, a guild of painters and miniaturists, which had its statutes and privileges renewed at the much earlier date of 17 December 1478 by Pope Sixtus IV. Included among its founding members, was the famous painter Melozzo da Forlì, as he was the pictor papalis in that period.
In 1605, Pope Paul V granted the Academy the right to pardon a condemned man on the feast of St. Luke. In the 1620s, Urban VIII extended its rights to decide who was considered an artist in Rome and it came under the patronage of his nephew, Cardinal Francesco Barberini. In 1633, Urban VIII gave it the right to tax all artists as well as art-dealers, and monopolize all public commissions. These latter measures raised strong opposition and apparently were poorly enforced.[2]
Over the early years, the papal authorities exerted a large degree of control over the leadership of the institution. Some modern critics have stated "with the ostensible purpose of giving artists a higher education and the real one of asserting the Church's control over art,".[3]
The prìncipi (directors) of the institution have included some of the pre-eminent painters of the 17th century, including Domenichino, Bernini, Cortona and Romanelli. However, many prominent artists never joined or were admitted to the academy.
The Cortona-Sacchi Debate and other artistic issues
Artistic issues debated within the Academy included the Cortona-Sacchi controversy (see Andrea Sacchi for further details of this debate) about the number of figures in a painting. Disdain was espressed by many academicians for the Bamboccianti.[4]
Giovanni Bellori gave famous lectures on painting in the Academy. In the early 18th century, the painter Marco Benefial was inducted, and then expelled for criticizing the academy as an insider.
Recent times
The Academy is still active; the Accademia Nazionale di San Luca is its modern descendant. From the very beginning, the statutes of the Academy directed that each candidate-academician was to donate a work of his art in perpetual memory and, later, a portrait. Thus the Academy, in its current premises in the 16th-century Palazzo Carpegna, located in the Piazza dell'Accademia di San Luca, has accumulated a unique collection of paintings and sculptures, including about 500 portraits, as well as an outstanding collection of drawings.
Principi
Prominent artists to become Principi of the academy over the first 200 years include:
Federico Zuccari, 1593
Tommaso Laureti, 1595
Giovanni De Vecchi, 1596
Cesare Nebbia, 1597
Durante Alberti, 1598
Flaminio Vacca, 1599
Cavalier d'Arpino, 1600, 1616, 1629
Girolamo Massei, 1603
Pietro Bernini, 1605, 1606
Paolo Guidotti, 1607, 1620
Gaspare Celio, 1609
Cherubino Alberti, 1611–1613
Ottavio Leoni, 1614–1615, 1627
Giovanni Baglione, 1617–1619
Gian Lorenzo Bernini, 1621, 1630
Agostino Ciampelli, 1623
Antiveduto Gramatica, 1624
Simon Vouet, 1624–1627
Baldassare Croce, 1628
Domenichino, 1629
Giovanni Lanfranco, 1631, 1632
Francesco Mochi, 1633
Pietro da Cortona, 1634–1636
Alessandro Turchi, 1637, 1638
Giovanni Francesco Romanelli, 1639
Alessandro Algardi, 1640
Girolamo Rainaldi, 1641–1643
Niccolò Menghini, 1645–1647
Giovanni Battista Soria, 1648–1650
Luigi Gentile da Bruxelles, 1651–1653
Pietro Martire Neri, 1654
Bernardino Gagliardi, 1655–1658
Nicolas Poussin, 1657 (resigned)
Raffaello Vanni, 1658–1660
Gaspare Morone, 1661
Pier Francesco Mola, 1662, 1663
Carlo Maratta, 1664–1665, 1699, 1706–1713
Giovanni Francesco Grimaldi 1666
Melchiorre Cafà, 1667 (resigned)
Orfeo Boselli, 1667- Pietro del Pò
Giacinto Brandi 1669, 1684
Domenico Guidi, 1670, 1675
Giovanni Maria Morandi, 1671, 1680, 1685
Charles Errard, 1672, 1678
Carlo Rainaldi, 1673
Giovan Battista Gaulli, 1674
Carlo Cesi, 1675
Charles Le Brun, 1676–1677
Lazzaro Baldi, 1679
Mattia de Rossi, 1681, 1693
Luigi Garzi, 1682
Giovanni Battista Contini, 1683, 1719
Filippo Lauri, 1686 (resigned)
Carlo Fontana, 1686, 1694
Ludovico Gimignani 1688
Giovan Battista Boncori, 1698
Charles-François Poerson, 1714, 1718
Benedetto Luti, 1720
Giuseppe Bartolomeo Chiari, 1723–1725
Antonio Valeri, 1726
Camillo Rusconi, 1727, 1728
Sebastiano Conca, 1729, 1739
Girolamo Teodoldi, 1734, 1742
Agostino Masucci, 1736–1738
Jean-François de Troy, 1744
Giovanni Battista Maini, 1746, 1747
Tommaso de Marchis, 1748
Francesco Mancini, 1750–1751
Filippo della Valle, 1752, 1760–1761
Ferdinando Fuga, 1753–1754
Giovanni Paolo Pannini, 1755
Pietro Bracci, 1756
Clemente Orlandi, 1757
Placido Costanzi, 1758
Mauro Fontana, 1762
Francisco Preciado de la Vega, 1764–1766, 1777–1778
Andrea Bergondi, 1767, 1779–1780
Anton Raphael Mengs, 1771–1772
Carlo Marchionni, 1773
Ferdinando Raggi, 1781
Anton von Maron, 1784
Agostino Penna, 1787–1789
Antonio Asprucci, 1790
Tommaso Conca, 1793
Vincenzo Pacetti, 1796, 1800, 1801
Andrea Vici, 1802
Vincenzo Camuccini, 1806–1810
Antonio Canova, 1811 (permanent principe 1814 to 1822)
Gaspare Landi, 1817–1820
Alessandro Massimiliano Laboureur, 1820–1822
Girolamo Scaccia, 1823
Vincenzo Camuccini, 1826
Bertel Thorvaldsen, 1827–1828
Giulio Camporese, 1829
Andrea Pozzi, 1830–1831
Antonio D'Este, 1832
Tommaso Minardi, 1837
Clemente Folchi, 1841–1843
Luigi Poletti, 1849–1853
Filippo Agricola, 1854–1855
Virginio Vespignani, 1870, 1876–1877
Nicola Consoni, 1878, 1883
Stefano Galletti, 1899, 1900
Claude Lorrain was a member but declined the offer of being principi.
The Academy can also boast modern members, including sculptors Ernesto Biondi and Piccirilli Brothers.
External links
Accademia Nazionale di San Luca Official site (in Italian)
Galleria Nazionale di San Luca (in Italian)
Accademia San Luca (in Italian)
The History of the Accademia di San Luca, c. 1590–1635: Documents from the Archivio di Stato di Roma (in English and Italian)
References
^ Goldstein, Carl – Teaching Art: Academies and Schools from Vasari to Albers. Cambridge; New York: Cambridge University Press, 1996, p. 30. .mw-parser-output cite.citation{font-style:inherit}.mw-parser-output q{quotes:"""""""'""'"}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:inherit;padding:inherit}.mw-parser-output .cs1-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/6/65/Lock-green.svg/9px-Lock-green.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-lock-limited a,.mw-parser-output .cs1-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Lock-gray-alt-2.svg/9px-Lock-gray-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Lock-red-alt-2.svg/9px-Lock-red-alt-2.svg.png")no-repeat;background-position:right .1em center}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration,.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}
ISBN 0-521-55988-X
^ Haskell, Francis (1993) [1980]. "Chapter 8". Patrons and Painters: Art and Society in Baroque Italy. Yale University Press. pp. 17–18. ISBN 978-0-300-02540-8.
^ according to Peter Robb, biographer of the Baroque artist Caravaggio
^ Roworth, Wendy Wassyng (1 January 1981). "A Date for Salvator Rosa's Satire on Painting and the Bamboccianti in Rome". The Art Bulletin. 63 (4): 611–617. doi:10.2307/3050166. JSTOR 3050166.
Coordinates: 41°54′6″N 12°29′1″E / 41.90167°N 12.48361°E / 41.90167; 12.48361
