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Moses Striking the Rock
new16/Corrado Giaquinto-639398.jpg
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Moses_Striking_the_Rock
mk170
1743-1744
Oil on canvas
136.5x95cm
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The Holy Spirit
new22/Corrado Giaquinto-928484.jpg
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The_Holy_Spirit
Oil on canvas
64 x 48 cm
1750s
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Tobias and the Angel
new23/Corrado Giaquinto-966886.jpg
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Tobias_and_the_Angel
c. 1740
Oil on canvas
58 x 48 cm
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Justice and Peace
new23/Corrado Giaquinto-647989.jpg
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Justice_and_Peace
Medium Oil on canvas
Dimensions 216 x 325 cm
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Portrait of Farinelli
new24/Corrado Giaquinto-668974.jpg
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Portrait_of_Farinelli
1753(1753)
Medium Oil on canvas
cyf
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Corrado_Giaquinto
1703-1766
Italian
Corrado Giaquinto Galleries
He was born in Molfetta. As a boy he apprenticed with a modest local painter Saverio Porta, (c1667-1725), escaping the religious career his parents had intended for him. By October 1724, he left Molfetta, and along with his contemporaries Francesco de Mura (1696-1784) and Giuseppe Bonito (1707-1789), he trained from 1719-23 in the prolific Neapolitan studio of Francesco Solimena, either with Solimena or his pupil, Nicola Maria Rossi. Throughout his life, Giaquinto was a peripatetic painter, with long sojourns in Naples, Rome (between 1723-53), Turin (1733 and 1735-9), and Madrid (1753-1761).
In 1723, he moved to Rome to work in the studio of Sebastiano Conca. He painted in San Lorenzo in Damaso, San Giovanni Calibita, and the ceiling at Santa Croce in Gerusalemme. In March 1727, with Giuseppe Rossi as an assistant, Giaquinto opened an independent studio near the Ponte Sisto, in the parish of Saint Giovanni of the Malva in Rome. In 1734, he married Caterina Silvestri Agate.
The first documented work by his hand is Christ crucified with the Madonna, Saint John Evangelist, and Magdalene commissioned in 1730 by king John V of Portugal for the cathedral of the Mafra. In 1731, he received a prestigious commission, to execute frescoes in the church of San Nicola dei Lorenesi: Saint Nicholas water gush from cliff, three theologic and cardinal Virtues, and in the cupola Paradise. The latest restoration confirms Giaquinto stylistic independence from Solimena, and reveals his stylistic dependence on Luca Giordano.
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