(c. 1587 - November 1629) was an Italian artist, with a peculiar output, mainly landscape and genre scenes and also drawings or etchings of diverse, often particular, items such as exotic soldiers, skeletons of animals, or cityscapes. He began his career in his native city, Naples (1600-1613) and moved to Rome in 1614-1617), where he appears to have encountered and felt influenced by the successful Flemish landscape painters such as Paul Bril, Goffredo Wals, and Adam Elsheimer. In 1617 Cosimo II dee Medici summoned him to Florence, where he worked closely with Jacques Callot. From notebooks, Filippo is known to have made hundreds of sketches of Tuscan landscapes and towns. Starting in 1620 he reproduced in etchings part of his collection of animal skeletons owned by Johann Faber, a Bavarian physician-naturalist residing in Rome and a member of the scientific Accademia dei Lincei. In 1622, Napoletano published twelve etchings of caprices (capprici) and military uniforms (which he signed as signed Teodor Filippo de Liagno). He is described by Giovanni Baglione as possessing a collection, a Wunderkammer of bellissime bizzarrie ("beautiful bizarre objects"), including among the objects exotic weaponry; fossilized plants; tiger, lion, and turtle skulls; oriental porcelain and sculpted crockery; a vest made of human skin; a harness for dragging whales on ice; a three-legged flea, Persian uniforms, and antiquities such as Roman coins, bronze lamps, and a few statuettes. After Napoletano death at Rome in 1628, bidding for such material was made by collectors such as Cardinal Ippolito Aldobrandini (future Clement VIII) and Cassiano dal Pozzo.   Related Paintings of Filippo Napoletano :. | The Doc. in Surgery | Disciples at Emmaus | Landscape of Grindelwald (nn02) | 'Snowshoeing Home in a Blizzard' | Rene-Hilaire De Gas |
Related Artists:
Tommaso Minardi
1787-1871 Italian painter, draughtsman, teacher and theorist. He studied drawing with the engraver Giuseppe Zauli (1763-1822) who imbued Minardi with his enthusiasm for 15th-century Italian art and introduced him to his large collection of engravings after the work of Flemish artists such as Adriaen van Ostade. However, Minardi was strongly influenced by the Neo-classical painter Felice Giani, who ran a large workshop in Faenza, and whose frescoes of mythological scenes (1804-5) at the Palazzo Milzetti he saw being painted. In 1803 he went to Rome on an annual stipend provided by Count Virgilio Cavina of Faenza (1731-1808), and he received (1803-8) additional financial assistance from the Congregazione di S Gregorio. He was given the use of Giani's studio and through him met Vincenzo Camuccini who, with Canova, dominated the artistic establishment in Rome at that time. Although Minardi learnt the precepts of Neo-classicism from Camuccini, he did not share his interest in heroic art. His first works done in Rome show his interest in the theme of master and acolyte. In Socrates and Alcibiades (1807; Faenza, Pin. Com.), for example, he has included himself among a group of elderly philosophers and young students who are placed on either side of a portrait bust of Zauli. He sent this drawing to his patrons, the Congregazione di S Gregorio, no doubt to reassure them of his aptitude and moral correctness. Supper at Emmaus (c. 1807; Faenza, Pin. Com.) was another painting destined for the same patrons. The confined pictorial space, with a single source of light entering through a small window, and the casual poses of the figures are reminiscent of Flemish art and of the works of the northern Caravaggisti, familiar to the artist through engravings.
Carl Johann Lasch
painted Portrait of August Bolten in 1883
Jean-Louis Voille
painted Ivan Perfilevich Elagin in 1789