Cosimo Ulivelli (1625-1705) Lorenzo de Medici under the protection of Athena

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Cosimo Ulivelli
Cosimo Ulivelli (1625-1705) Lorenzo de Medici under the protection of Athena
circa 1645

About the Item

Cosimo ULIVELLI (Florence, 1625 - Pisa, 1705) Portrait of Don Lorenzo de Medici (1599-1648) under the protection of Athena, goddess of Arts and War Oil on canvas H.98cm; L. 78 cm Around 1642/1645 Don Lorenzo de Medici (1599-1648) is a son of Grand Duke Ferdinand I de Medici (1549-1609) and his wife Christine de Lorraine (1565-1637), and he was therefore a cousin of Marie de Medici. A hardened bachelor, although there were plans to marry the Princess of Stigliano in the years 1624/1628, he showed no interest in political matters, which makes him an atypical personality in the Medici family. Epicurean passionate about hunting, dogs and horses, he was above all an important art lover and patron, in the theater but mainly in the field of painting. The bulk of his collection, the largest part of which was made up before 1630, was presented at Villa Petraia, his "countryside" residence which he had inherited in 1609. It consisted for the most part of contemporary Florentine artists, among including Vincenzo Mannozzi, Carlo Dolci, Francesco Furini, Orazio Fidani, Stefano della Bella, or even Baldassare Franceschini (Volterrano) who also created a set of frescoes on the splendor of the Medicis in the courtyard of Villa Petraia. But other works were also in the main residence of Don Lorenzo, the current Palazzo Corsini (located via del Parione), for which there is no inventory made at the time; we cannot therefore exclude that our painting was hung there. With a personality that was both somewhat "disillusioned" and rebellious, advocating great freedom in his artistic choices, Don Lorenzo knew how to demonstrate self-mockery. Thus, although he had never been a soldier, he shaped his image thanks to portraits in which, like ours, he had himself represented as a soldier; this perhaps reflecting his marked taste for etiquette and the rigor of the court protocol in force among the Medici. He would have been poisoned. The Ulivelli family enjoyed constant protection from Don Lorenzo, and it was on the latter's recommendation that Cosimo would have entered, still a child, the studio of Matteo Rosselli (1578-1650), who initiated him to painting from nature. Renouncing the study trip to Rome, Ulivelli, while continuing to work alongside Rosselli until the latter's death, had as early as 1641 begun to produce his own works, whether frescoes or paintings. oil paintings. In 1648, the young artist entered the drawing academy of Florence; this one, founded in 1563, was located since 1637 via della Crocetta (current via Laura). This decade (he produced there, for example, the frescoes of the Oratorio dei Santi Jacopo e Filippo), despite the few works known today, was considered in 1795 by the Italian art historian Luigi Lanzi as the best period d'Ulivelli, despite the artist's youth. Our painting, certainly very baroque but retaining some snippets of mannerism, is the reflection of this apprenticeship at Rosselli, particularly visible in the bright and almost acidulous colors, the treatment of the sky or that of the hair and the plume of the helmet, the softness of the faces; we also detect influences from his future master Volterrano (1611-1689), himself a pupil of Rosselli since 1628, and whom Ulivelli was able to frequent from the 1630s. The tight framing, giving the impression of a reduced painting , being a process quite frequently used at the time. The subject also reflects the relationship maintained by Ulivelli and his patron; he is therefore portrayed as a soldier, under the protection of Athena, both goddess of war and protector of the Arts. Athena, or rather Minerva, wears the aegis, her shield decorated with the head of Medusa brought back to her by Perseus; the choice to represent a head of Medusa is not fortuitous, because Medusa is also a symbol of wisdom and prudence, two concepts appreciated by the Medici. Don Lorenzo's father, Grand Duke Ferdinand I, had in his Palazzo Vecchio collection the famous painting by Caravaggio (now in the Uffizi gallery, which had been given to him by Cardinal de Monte , his ambassador in Rome) representing a shield adorned with the head of Medusa. In 1650, after the deaths of his protector and his master, Ulivelli entered Volterrano's studio, where he quickly became the main collaborator with Pier Maria Baldi, and maintained a strong stylistic proximity with him; as proof his large painting Diana and Callisto, painted in 1656/1657, which was still very recently given to Volterrano. Two paintings of the same composition, but with different titles, belong to this same period (Abduction of Chloris and Abduction of Orythia by Borée), respectively kept at the Musée de La Fère and the Musée of Dole. From about 1660, Ulivelli began to free himself from his master and worked more and more for his own account, notably for the Medici; his already high reputation, due to the quality and speed of his work, earned him numerous commissions (frescoes and easel paintings) for Florentine churches and palaces. Among the decorated places, we can mention: the Palazzo Salvi (later Magnani), the interior chapel of the former Saint Thomas Aquinas hospice, the cloister of the Carmelite church, the Uffizi gallery, the basilica Santassima Annunziata where he worked from 1664 to 1677. Our formidable painting, considered by Francesca Baldassari as one of the very first works by the artist, is a particularly interesting element in the rediscovery of the corpus of Ulivelli, several of whose drawings are kept at the Met in New York, the British Museum, the Louvre , at the Lille Museum.

Creator:
Cosimo Ulivelli (1625 - 1705, Italian)
Creation Year:
circa 1645
Dimensions:
Height: 38.59 in (98 cm)Width: 30.71 in (78 cm)
Medium:
Canvas,Oil
Movement & Style:
Italian School
Period:
1640-1649
Condition:
Gallery Location:
BELEYMAS, FR
Reference Number:
1stDibs: LU1860210072522

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