Mura, Francesco de
Italian, 1696-1782 Italian painter. He was educated initially in the workshop of Domenico Viola at Naples, but in 1708 he entered the school of Francesco Solimena, whose favourite pupil and most trusted collaborator he became. At first he followed closely Solimena's monumental Baroque manner, as in the frescoes (1715) in S Nicola alla Carit? in Naples, but later developed a more controlled and refined style of rhythmical lines, light and airy colours and delicate psychological overtones. He employed this new style in his ten canvases of the Virtues and his vast Adoration of the Magi (all 1728; Naples, S Maria Donnaromita) and, above all, in his frescoes of the Adoration of the Magi in the apsidal dome of the church of the Nunziatella, Naples (1732; in situ). De Mura was also active as a portrait painter; his Portrait of the Artist's Wife
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Mura, Francesco de Allegory of the Arts oil painting


Allegory of the Arts
1750 Oil on canvas Mus??e du Louvre, Paris
Painting ID::  19587 		Mura, Francesco de
Allegory of the Arts
1750 Oil on canvas Mus??e du Louvre, Paris
   
   
     
Mura, Francesco de Allegory of the Arts (mk05) oil painting


Allegory of the Arts (mk05)
Canvas 56 x 52''(142 x 132 cm)An over-door for an unknown palace;the musical score included in the subject is one of the six Divertimenti written by Haydn for the king of Naples in 1750 Acquired in 1872 R. F
Painting ID::  20707 		Mura, Francesco de
Allegory of the Arts (mk05)
Canvas 56 x 52''(142 x 132 cm)An over-door for an unknown palace;the musical score included in the subject is one of the six Divertimenti written by Haydn for the king of Naples in 1750 Acquired in 1872 R. F
   
   
     
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     Mura, Francesco de
     Italian, 1696-1782 Italian painter. He was educated initially in the workshop of Domenico Viola at Naples, but in 1708 he entered the school of Francesco Solimena, whose favourite pupil and most trusted collaborator he became. At first he followed closely Solimena's monumental Baroque manner, as in the frescoes (1715) in S Nicola alla Carit? in Naples, but later developed a more controlled and refined style of rhythmical lines, light and airy colours and delicate psychological overtones. He employed this new style in his ten canvases of the Virtues and his vast Adoration of the Magi (all 1728; Naples, S Maria Donnaromita) and, above all, in his frescoes of the Adoration of the Magi in the apsidal dome of the church of the Nunziatella, Naples (1732; in situ). De Mura was also active as a portrait painter; his Portrait of the Artist's Wife

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