Giacomo Ceruti

Source: Wikipedia, the free encyclopedia.

Giacomo Ceruti
Genre

Giacomo Antonio Melchiorre Ceruti (13 October 1698 – 28 August 1767) was an Italian late Baroque painter, active in Northern Italy in Milan, Brescia, and Venice. He acquired the nickname Pitocchetto (the little beggar) for his many paintings of peasants dressed in rags.

He was born in Milan, but worked primarily in Brescia. He may have been influenced early by

genre paintings
, especially of beggars and the poor, whom he painted realistically and endowed with unusual dignity and individuality.

Ceruti gave particular attention to this subject matter during the period 1725 to 1740, and about 50 of his genre paintings from these years survive.[1] Mira Pajes Merriman, in her essay titled Comedy, Reality, and the Development of Genre Painting in Italy, observes that "Generally his figures do almost nothing—after all, they have nothing to do."[2] She describes his paintings as confronting us with

the detritus of the community; the displaced and homeless poor; the old and the young with their ubiquitous spindles, eloquent signs of their situationless poverty and unwanted labour; orphans in their orderly, joyless asylums plying their unpaid toil; urchins of the streets eking out small coins as porters, and sating them in gambling; the diseased, palsied, and deformed; lonely vagabonds; even a stranger from Africa—and all in tatters and filthy rags, almost all with eyes that address us directly...[2]

A Woman with a Dog, 1740s, oil on canvas, 96.5 x 72.3 cm, Metropolitan Museum of Art, New York

A characteristic painting is his Woman with a Dog which portrays a rather plain subject sympathetically and without

idealization. Like most of his figures, she appears before an undifferentiated dark background; when Ceruti attempted to represent deep space, the results were frequently awkward. His landscape backgrounds resemble stage flats and are often copied from print sources, such as the engravings of Jacques Callot. The realism Ceruti brought to his genre paintings also distinguishes his portraits and still lifes, while it is less apparent in his somewhat conventional decorative paintings for churches, including frescoes for the Basilica Santa Maria Assunta of Gandino and an altarpiece for Santa Lucia in Padua. This limitation is not unique to Ceruti; the Brescian painter from the late 16th century, Giovanni Battista Moroni
, was similarly known for expressive portraits, and drab religious paintings.

Gallery

  • Dwarf
    Dwarf
  • Beggar Resting
    Beggar Resting
  • Spinner Woman, Museo di Santa Giulia, Brescia
    Spinner Woman,
    Museo di Santa Giulia, Brescia
  • Porter Boy Resting (1736), Pinacoteca di Brera, Milan
    Porter Boy Resting (1736), Pinacoteca di Brera, Milan
  • Encounter in Woods
    Encounter in Woods
  • Beggar Girl and Woman Spinning
    Beggar Girl and Woman Spinning
  • Women Sewing Lace
    Women Sewing Lace
  • Sleeping Pilgrim
    Sleeping Pilgrim
  • The Laundress (1735), Pinacoteca Tosio Martinengo, Brescia
    The Laundress (1735), Pinacoteca Tosio Martinengo, Brescia
  • Three Beggars
    Three Beggars
  • Porters in Cardgame (also Evening at the Piazza) (1730), Palazzo Madama, Turin
    Porters in Cardgame (also Evening at the Piazza) (1730), Palazzo Madama, Turin
  • Boy with Basket of Fish
    Boy with Basket of Fish
  • Hen, Pot, and Onion
    Hen, Pot, and Onion
  • Lobster, Fish, & Shellfish
    Lobster, Fish, & Shellfish
  • Bread and Pitcher
    Bread and Pitcher
  • D. Alba Regina del Ferro
    D. Alba Regina del Ferro
  • Portrait
    Portrait
  • Portrait
    Portrait
  • Smoking Man in Turban
    Smoking Man in Turban
  • Madonna & Saints, Altarpiece
    Madonna & Saints, Altarpiece

Notes

  1. ^ Spike, 1986, pp. 66.
  2. ^ a b Spike, 1986, pp. 66-67.

Resources

  • Spike, John T. (1986). Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy. Fort Worth: Kimball Museum of Art. pp. 66–67.

External links