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Carlo Maratta, self-portrait.
Carlo Maratta or Maratti (May 13, 1625, Camerano December 15, 1713, Rome) was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta


Born in Cameranomarker (Marche), then part of the Papal Statesmarker, he went to Rome in 1636 and became an apprentice in the studio of Andrea Sacchi. It was at this time that the debate between Sacchi and Pietro da Cortona took place at the Accademia di San Lucamarker, the artists academy in Rome. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a greater number of figures allowed for the development of sub themes. Maratta's painting at this time was closely allied with the classicism of Sacchi and was far more restrained and composed than the Baroque exuberance of Pietro da Cortona’s paintings. Like Sacchi, his paintings were inspired by the works of the great painters from Parmamarker and Bolognamarker: Annibale Carracci, Guercino, Guido Reni, Francesco Albani and Giovanni Lanfranco.

He developed a close relationship with Sacchi till the death of his master in 1661. His fresco of 'Constantine ordering the Destruction of Pagan Idols' (1648) for the Baptistery of the Lateran, based on designs by Sacchi, gained him attention as an artist but his first prominent independent work was the 'Adoration of the Shepherds' (1650) for San Giuseppe di Falegnami. Another major work from this period was 'The Mystery of the Trinity Revealed to St. Augustine' (c. 1655) painted for the church of Santa Maria dei Sette Dolori.

Pope Alexander VII (reigned 1655-1667) commissioned many paintings from him including 'The Visitation' (1656) for Santa Maria della Pacemarker and the 'Nativity' in the gallery of the Quirinal Palace where he worked under the direction of Cortona who selected him for this task. His pictures of the late 1650’s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism. .

From 1660, he built up a private client base amongst wealthy patrons of Europe, establishing the most prominent art studio in Rome of his time and, after the death of Bernini in 1680, he became the leading artist in Rome. In 1664, Maratta became the director of the Accademia di San Luca and, concerned with elevating the status of artists, promoted the study and drawing of the art of Classical Antiquity. During the 1670’s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altierimarker; the iconographic programme for ‘The Triumph of Clemency’ was devised by Bellori . Unlike Giovan Battista Gaulli’s nave fresco in the nearby church of the Gesumarker which was being painted at the same time, Maratta did not employ illusionism; his scene remained within its frame and used few figures.

His major works of this period included: 'The Appearance of the Virgin to St. Philip Neri' (c. 1675) now in the Pitti Palacemarker in Florence; 'The Virgin with Saints Carlo Borromeo and Ignatius of Loyola, and Angels' (c. 1685) for the church of Santa Maria in Vallicellamarker (c. 1675); and 'The Assumption of the Virgin with Doctors of the Church' (1689) for Santa Maria del Popolomarker. It was not, as his critics claimed, numerous depictions of the Virgin that earned him the nickname Carluccio delle Madonne or ‘Little Carlo of the Madonnas', but his gifted interpretation of this theme . Other works included an altarpiece, ‘The Death of St Francis Xavier’ (1674-9) in the San Francesco Xavier Chapel in the right transept of the Church of the Gesumarker.

Maratta was a well known portrait painter. He painted Sacchi (c. 1655, Prado), Cardinal Antonio Barberini (c. 1660 Palazzo Barberinimarker), Pope Clement IX (1669, Vatican Pinacoteca) and a self-portrait (c. 1695, Brussels).

In 1679 or 1680, a daughter, Faustina Maratti Zappi was born to Maratta by his mistress, Francesca Gommi (or Gomma). He legally recognized her as his daughter in 1698 and upon becoming a widower in 1700, Maratta married the girl's mother. His daughter’s features were incorporated into a number of Maratta’s late paintings.

In 1704 Maratta was knighted by Pope Clement XI.

With a general decline in patronage around the beginning of the eighteenth century and largely due to the economic downturn, Maratta turned his hand to painting restoration, including works by Raphael and Carracci. His sculptural designs included figures of the Apostles for San Giovanni in Lateranomarker.

He continued to run his studio into old age even when he could no longer paint. Maratta died in 1713 and was buried in Santa Maria degli Angeli, Rome.

See also

Partial anthology of works

  • Birth of the Virgin, 1643-45, Church of Saint Clare, Nocera Umbra.
  • The Triumph of Clemency, 1673-75, Palazzo Altieri, Rome.
  • St. John the Baptist Explaining the Doctrine of the Immaculate Conception to Sts. Gregory, Augustine, and John Chrysostom, 1686, Cybo Chapel, Sta. Maria de Popolo, Rome.
  • Portrait of Clement IX Rospigliosi, 1669, Pinacoteca Gallery, Vatican Museums, Rome.
  • Saint Joseph and the Infant Christ, Dunedin Public Art Gallerymarker, Dunedin.


  • Edward Chaney (ed), The Evolution of English Collecting (Yale University Press, 2003).
  1. Bellori, Giovanni Pietro. Vita di Carlo Maratta pittore, Rome, 1732
  2. See the article on 'Sacchi' for further discussion of the debate.
  3. ‘Carlo Maratti’, Marquez, Manuela B. Mena. Oxford Art Online
  4. Marquez,
  5. Maratti intended further decorations to this room which were not executed due to the death of the pope
  6. Marquez
  7. [1]
  8. Marquez
  9. Faustina Maratti Zappi later became a prominent poet and member of the Academy of Arcadia
  10. Marquez
"A Kiss in Time" by Alex Flinn

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