Pietro Testa (1611-1650) was an Italian High Baroque painter of Rome. Born in Lucca, took up residence in Rome in by his 2nd decade of life. His early training was with Domenichino and then Annibale Carracci, under whom he worked in Cassiano del Pozzo. He was friends with Nicolas Poussin and Francesco Mola. He was described as melancholic and may have died from suicide. His etchings have a fantastic quality reminiscent of Jacques Callot. Adoration, by Peter Paul Rubens: dynamic figures spiral down around a void: draperies blow: a whirl of movement lit in a shaft of light, rendered in a free bravura handling of paint. ... City motto: Senatus Populusque Romanus â SPQR (The Senate and the People of Rome) Founded 21 April753 BC mythical, 1st millennium BC Region Latium Mayor Walter Veltroni (Left-Wing Democrats) Area - City Proper 1285 kmÂ² Population - City (2004) - Metropolitan - Density (city proper) 2,553,873 almost 4,300,000 1. ... Lucca (population 90,000) is a city in Tuscany, northern central Italy, near (but not on) the Ligurian Sea. ... Domenico Zampieri (or Domenichino) (October 21, 1581 - April 15, 1641), Italian painter, born at Bologna, was the son of a shoemaker. ... The Flight into Egypt (1603) Annibale Carracci (November 3, 1560, in Bologna - July 15, 1609, in Rome) was an Italian painter, etcher and engraver. ... Les Bergers dâArcadie. ... Etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. ... Les misÃ¨res de la guerre Jacques Callot (c. ...
Anthology of Works
Freedberg, Sydney J. (1993). Pelican History of Art Painting in Italy, 1500-1600, p. 323-325 Penguin Books Ltd.
Categories: 1650 deaths | Italian painters | Baroque painters
Testa chose instead to invent prints of antique and allegorical scenes that were of interest to him and then to solicit like-minded buyers.
''PietroTesta'' could hardly have been more carefully put together, and at a time when major museums are devoting so much exhibition space and money to the staging and publicizing of blockbuster shows, this scholarly and low-key presentation deserves additional praise.
It illustrates Testa's gradual passage from a precocious draftsman and etcher who was admired for his charmingly delicate depictions of pudgy cherubim and slender heroines to an artist whose crisply drawn, monumental heroes played out complex and impassioned dramas.
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