Pietro da Cortona was one of the trio of
artists and architects who gave the greatest impetus to the Baroque style in
Rome in the 17th century, the others being Gian Lorenzo Bernini and Francesco Borromini. Of the three, Cortona was the best artist, being noted
mainly for his fresco paintings, but he was also a competent and talented
architect.
Pietro Berrettini was born in 1596 in the
town of Cortona in Tuscany, and so acquired the name “da Cortona” when he
arrived in Rome in either 1612 or 1613.
After several years’ training he was taken
up by an influential patron, Marcello Sacchetti, to whose household he was
attached from 1623 onwards. Sacchetti’s contacts included Cardinal Francesco
Barberini, the nephew of pope Urban VIII, and Cortona made good use of these
connections to gain commissions to paint frescoes in Roman churches.
At some stage he learned the techniques of
architecture, because in the 1630s he emerged as a highly capable architect as
well as continuing to paint frescoes. He was elected by his artistic colleagues
as “principe” of the Accademia di San Luca for a four-year term from 1634 to
1638, and he was in Florence during the years 1640 to 1647, mainly working for
Grand Duke Ferdinand II. He spent the latter part of his life back in Rome,
where he died in 1669.
The Barberini Ceiling
His masterpiece in fresco was the
“Barberini Ceiling” on which he worked intermittently from 1633 to 1639. The
ceiling was of the main salon of the palace of Cardinal Maffeo Barberini, who
had become Pope Urban VIII in 1623 and was spending huge sums of money on
rebuilding much of the palace which he had inherited from his uncle. Both
Borromini and Bernini had also worked on the project.
His other work
Pietro da Cortona’s work can also be seen
today at the Pitti Palace in Florence. He was originally commissioned to
decorate a small room with four allegorical scenes representative of the four
Ages of Iron, Bronze, Silver and Gold. He was later asked to paint five
ceilings of the ducal palace to represent Venus, Apollo, Mars, Jupiter and
Saturn.
Back in Rome, Cortona painted frescoes for
Pope Innocent X at the Doria Pamphili Palace and also produced a number of
excellent works at the Chiesa Nuova church.
Cortona also worked in oils, mainly on
religious and mythological subjects, and was a highly skilled portraitist.
As an architect, Cortona showed himself to
be in sympathy with the ideas expressed by the more prolific Borromini but was
less extreme in his use of exaggerated curves, tending to be more austere and
regular in his approach. A good example of his work is the façade of San Maria
della Pace, in Rome, where in 1656-7 he undertook the modernisation of a 15th-century
church. The central feature is a boldly projecting semi-circular
portico that creates a strong three-dimensional effect that is also restrained
and, to an extent, classical. Another important architectural project was the church of
Santi Luca e Martina (in the Roman Forum), which was completed in 1664.
Of all the great Italian Baroque painters,
Cortona’s work is the richest. His colouring was always strong and his
paintings were highly detailed and often florid. He was excellent at portraying
the human figure, although his poses tended to be idealistic in a classical
mode, so that he forms a link between the classical and the Baroque. He was
able to be both serious and decorative, and so has been considered to be
Italian painting’s nearest counterpart to Rubens.
© John Welford
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