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The Age of Pleasure and Enlightenment European art of the ...

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Domenico CorviItalian, Roman, 1721–1803<strong>The</strong> Miracle <strong>of</strong> St. Joseph Calasanz Resuscitating a Child in a Church at Frascati, 1767Oil on canvas<strong>The</strong> Ella Gallup Sumner <strong>and</strong> Mary Catlin Sumner Collection Fund, 1981.24<strong>The</strong> Spanish saint, Joseph Calasanz (1558–1648) was canonized in 1767, <strong>the</strong> same year hisfollowers, known as Scolopians or Piarists, presented this altarpiece to Pope Clement XIII.Devoted to education, especially <strong>of</strong> <strong>the</strong> homeless <strong>and</strong> neglected, Joseph Calasanz went to Romein 1592, <strong>and</strong> founded a free school for poor children <strong>the</strong>re five years later.Corvi’s painting encourages <strong>the</strong> emotional involvement <strong>of</strong> <strong>the</strong> observer by presenting <strong>the</strong> sacreddrama in a convincing narrative manner. <strong>The</strong> saint kneels before an altar adorned with a largepicture <strong>of</strong> <strong>the</strong> Virgin <strong>and</strong> Child, <strong>and</strong> appeals to <strong>the</strong> Madonna to revive <strong>the</strong> dead child in his arms,as <strong>the</strong> mo<strong>the</strong>r looks on. A Scolopian fa<strong>the</strong>r enters <strong>the</strong> scene with his pupils, <strong>the</strong>ir animatedgestures <strong>and</strong> facial expressions injecting energy <strong>and</strong> emotion into <strong>the</strong> scene.Carle Van LooFrench, 1705–1765Offering to Cupid, 1761Oil on canvas<strong>The</strong> Ella Gallup Sumner <strong>and</strong> Mary Catlin Sumner Collection Fund, 1979.186Offering to Cupid reflects <strong>the</strong> fascination with antiquity—fueled by excavations <strong>of</strong> ancient sitesin Italy—that swept mid-eighteenth-century France, influencing all aspects <strong>of</strong> culture <strong>and</strong>fashion. <strong>The</strong> subject is a contemporary interpretation <strong>of</strong> an ancient rite, in which a young maidenmakes an <strong>of</strong>fering to Cupid, <strong>the</strong> god <strong>of</strong> love. <strong>The</strong> elongated figures <strong>and</strong> sheer, clinging draperyrecall ancient Greek paintings <strong>and</strong> statues. But <strong>the</strong> fea<strong>the</strong>ry brushstrokes <strong>and</strong> pastel colors reflect<strong>the</strong> decorative Rococo style <strong>of</strong> <strong>the</strong> eighteenth century, marking Offering to Cupid as a work inwhich old <strong>and</strong> new elements combine.Carle Van Loo, <strong>the</strong> most famous member <strong>of</strong> a family <strong>of</strong> painters <strong>and</strong> <strong>art</strong>ists, was trained in bothParis <strong>and</strong> Rome, <strong>and</strong> known for his ability to paint a range <strong>of</strong> subjects <strong>and</strong> styles. By <strong>the</strong> time <strong>of</strong>his death in 1765, he had been ennobled <strong>and</strong> appointed Premier Painter to <strong>the</strong> King, Louis XV.

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