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Apollo and Daphne.
new24/Francesco Albani-363443.jpg
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Apollo_and_Daphne.
ca. 1615-1620 (1600-1625)
Oil on copper of panel
17.5 x 35.5 cm (6.9 x 14 in)
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Hermaphroditus and Salmacis.
new24/Francesco Albani-985734.jpg
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Hermaphroditus_and_Salmacis.
between 1591(1591) and 1666(1666)
Oil on copper of panel
14 x 31 cm (5.5 x 12.2 in)
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Apollo and Daphne.
new24/Francesco Albani-388793.jpg
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Apollo_and_Daphne.
ca. 1615-1620 (1600-1625)
Oil on copper of panel
17.5 x 35.5 cm (6.9 x 14 in)
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Cupids to Venus
new24/Francesco Albani-995436.jpg
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Cupids_to_Venus
1600(1600)
Medium Oil on canvas
cyf
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The Cupids Disarmed
new24/Francesco Albani-774583.jpg
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The_Cupids_Disarmed
between 1621(1621) and 1633(1633)
Oil on canvas
Height: 202 cm (79.5 in). Width: 250 cm (98.4 in).
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Francesco_Albani
(March 17 or August 17, 1578 COctober 4, 1660) was an Italian Baroque painter.
Born at Bologna, his father was a silk merchant who intended to instruct his son in the same trade; but by age twelve, Albani became an apprentice under the competent mannerist painter Denis Calvaert, where he met Guido Reni. Soon he followed Reni to the so-called "Academy" run by the Carracci family: Annibale, Agostino, and Ludovico. This studio fostered the careers of many painters of the Bolognese school, including Domenichino, Massari, Viola, Lanfranco, Giovanni Francesco Grimaldi, Pietro Faccini, Remigio Cantagallina, and Reni.
In the year 1600, Albani moved to Rome to work in the fresco decoration of the gallery of the Palazzo Farnese, being completed by the studio of Annibale Carracci. Rome, under Clement VIII Aldobrandini (1592-1605) was exhibiting some degree of administrative stability and renewed artistic patronage. While pope Clement was born from a Florentine family residing in Urbino, his family was allied by marriage to the Emilia-Romagna and the Farnese, since Ranuccio I Farnese, Duke of Parma had married Margherita Aldobrandini. Parma, like Bologna, are part of the Region of Emilia-Romagna. Thus it was not surprise that Cardinal Odoarde Farnese, Ranuccio's brother, chose the Carraccis from Bologna for patronage, thereby establishing Bolognese predominance of Roman fresco painting for nearly two decades.
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