Federico Barocci and the Oratorians: Corporate Patronage and Style in the Counter-Reformation

Truman State University Press

In 1586, Federico Barocci delivered his Visitation of the Virgin and St. Elizabeth to the Chiesa Nuova in Rome. For the next quarter century, Barocci dominated the art scene in Rome; there was no other artist from whom it was harder to get work and no other artist charged such high prices. Having two important altarpieces in the Chiesa Nuova and two additional commissions discussed was an impressive feat for an artist living exclusively in Urbino. Why did the Oratorians monopolize Barocci’s talents in Rome and why does it seem that Barocci was their first choice when considering artists to decorate their church? What was it about Barocci’s art that appealed to Oratorian sensibilities and their vision of the artistic program for decoration of their church?
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About the author

Ian Verstegen studied art with Rudolf Arnheim at the University of Michigan, which led to studies in experimental psychology at Rutgers University. He received his PhD with Marcia Hall at Temple University. He is currently the Associate Director of Visual Studies at the University of Pennsylvania. 

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Additional Information

Publisher
Truman State University Press
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Published on
Jul 2, 2015
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Pages
270
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ISBN
9781612481333
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Features
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Language
English
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Genres
Art / History / Renaissance
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Content Protection
This content is DRM protected.
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