A modern, psychic grace: Donato Creti's The Dance of the Nymphs, the 'Watteau Bolognese'.

SERIES: Messi in luce (Brought to Light). Paintings and sculptures from Palazzo Venezia
SPEAKER: Anna Maria Ambrosini Massari
DATE: Thursday, December 15, 6 p.m.
PLACE: Sala del Refettorio

The scholar Roberto Longhi compared Donato Creti, who was active in the first half of the eighteenth century, to the French Antoine Watteau, the supreme representative of the so-called rococo taste, for the way in which he projected his qualities from the context of the Bolognese painting tradition to which he belonged, onto the spotlight of the new international taste. Creti, who according to Longhi was "the first painter in Bologna in his time in the genre meant to be idyllic and delicately imaginative," owes his most peculiar and intimate characteristics to paintings like the one that is preserved in Palazzo Venezia. It was created in 1724 for Cardinal Tommaso Ruffo and was so well-received that it earned the artist the title of Knight of the Golden Spur.
  

Biography

She is a full professor of modern art history at the University of Urbino, Carlo Bo, as well as the director of the university's research center, InArtS (International Art Sources: Digital Humanities for Urbino Renaissance). She is also a member of the doctorate colleges for comparative studies at the University of Roma Tor Vergata and for art history at the University of Siena, as well as other scientific committees, (Palazzo Ducale, Galleria Nazionale delle Marche, Urbino; Federico Zeri Foundation, University of Bologna; from 2017 to 2019 of the commettee for the redevelopment of areas affected by the earthquake (MIBAC and Regione Marche); member of the Fondazione Cassa di Risparmio di Pesaro, the Accademia Raffaello in Urbino, and the Confindustria Pesaro-Urbino's Art and Culture Committee. Her research has grown out of subjects that are specific to the region, particularly the sixteenth and seventeenth centuries between Marche and Bologna: from Raphael through Federico Barocci and Simone Cantarini, as well as painting, graphics, historiography, and collecting. She is known for her many publications and her work as an exhibition curator (on Simone Cantarini, 2012; on art in the Marche in the second half of the sixteenth century, 2017; on Orazio Gentileschi and Caravaggio painting in the Marche, 2019; on Giuseppe Diamantini, 2021).

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