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Morte Di Seneca

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Martino Altomonte, Morte Di Seneca. Offentlig ejendom.

Fakta om værket

Kunstner
Martino Altomonte wahooart.com/da/artists/martino-altomonte/
Kunstnerens levetid
1657 – 1745

I kontekst

Morte Di Seneca — Martino Altomonte

Hvornår er dette maleri sandsynligvis blevet til?

  1. 1650
  2. 1660
  3. 1670
  4. 1680
  5. 1690
  6. 1700
  7. 1710
  8. 1720
  9. 1730
  10. 1740

Skyggelagt: Martino Altomonte' livstid (1657–1745)

Der findes ikke et præcist årstal for denne indspilning i arkivet — baseret på kunstnerens levetid og værkets stil, hvilket årti ville du så gætte på?

Sammenlignelige værker

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Flere værker, der kan placeres ved siden af dette: wahooart.com/da/art/similar/martino-altomonte-morte-di-seneca-9CWEBL-en/

Farver

Målt ud fra billedet

    Hovedfarve

    Phthalo Green #332216

    Gemt palet

    • #332216
    • #D0A784
    • #927768
    • #634C3E
    Farvepalette
    Earthy Den dominerende farvefamilie i billedet.
    Primær farve
    Phthalo Green
    Intensitet
    Balanced Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Bold Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Unified Palette Hvor godt farverne spiller sammen, fra modstridende til fuldstændig harmoniske.
    Lysstyrke
    Balanced Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Subtle Color Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Kunstner og museum

    Kunstner

    Martino Altomonte

    Født i Naples, Italy

    Martino Altomonte: A Life in Baroque Art

    Born: Naples, Italy (1657)

    Died: 1745

    Other Names: Johann Martin Hohenberg

    Martino Altomonte, born Johann Martin Hohenberg, was a significant Italian Baroque painter of Austrian descent. His career spanned Poland and Austria, leaving behind a legacy of vibrant battle scenes, royal portraits, and impressive altarpieces that reflect the artistic currents of his time.

    Early Life and Training

    Family Background: Altomonte’s father, Michael Hohenberg, emigrated from Tyrol to Naples.

    Apprenticeship in Rome: At the age of 15, he was apprenticed to Giovanni Battista Gaulli (Baciccio) in Rome, a leading figure in monumental Baroque painting.

    Further Studies: He later trained under Carlo Maratti, another prominent Roman painter known for his classical influences.

    Name Change: In 1684, upon becoming the court painter of John III Sobieski, King of Poland, he adopted the name Altomonte.

    Career in Poland and Artistic Development

    Royal Court Painter: As the court painter to King John III Sobieski, Altomonte primarily focused on battle pieces (notably depicting the Siege of Vienna) and royal portraits.

    Religious Works: He also produced numerous altarpieces, though many have not survived.

    Early Style: The surviving "Sacrifice of Abraham" (Tarnów Diocese Museum) demonstrates Altomonte’s early style as a “follower of Neapolitan chiaroscuro painting.”

    Son's Career: His son, Bartolomeo Altomonte, also became a painter, born in 1694.

    Vienna and the Development of Viennese Baroque

    Move to Vienna: Around 1699-1702, Altomonte relocated to Vienna, where he spent the remainder of his career.

    Academic Recognition: In 1707, he was appointed a teaching member of the Akademie der bildenden Künste (Academy of Fine Arts).

    Neue Favorita Commission: This likely led to a commission to decorate the Neue Favorita, an annex of Schloss Augarten.

    Synthesis of Styles: Altomonte’s oil paintings during this period reveal a unique style blending Neapolitan chiaroscuro with Venetian pastel tones, contributing significantly to the development of Viennese Baroque painting.

    Notable Works in Vienna: He created ceiling paintings for the Archbishop's Residenz at Salzburg (1709-10), altar paintings for the Dorotheerkirche (1713), the Peterskirche and Stephansdom (both 1714), the parish church in Krems, and the Deutschordenskirche in Ljubljana (both 1715).

    Further Commissions: He painted ceiling frescoes in the Lower Belvedere in Vienna (1716).

    Major Works and Legacy

    Alexander Cutting the Gordian Knot (1708) – Demonstrates his skill in depicting dramatic historical scenes.

    The Ascension of Mary (1737) – A significant high altarpiece at the Stiftskirche Wilhering, showcasing his religious artistry.

    High Altarpiece (1738–40) of the Ursuline Church dedicated to St. Michael in Linz - Another example of his impressive altar work.

    The Apotheosis of St. Leopold (ca. 1750) – A later work reflecting his continued artistic evolution.

    Influence: Altomonte is recognized as a pioneer of Viennese Baroque painting, bridging the gap between Italian and Austrian artistic traditions. His ability to combine Neapolitan drama with Venetian color created a distinctive style that influenced subsequent generations of artists.

    Her kan du læse mere

    Findes online

    QR-kode med link til downloadside for Morte Di Seneca

    wahooart.com/da/art/download/martino-altomonte-morte-di-seneca-9CWEBL-en/

    Kildehenvisning til dette kunstværk

    MLA
    Altomonte, Martino. Morte Di Seneca. n.d., https://wahooart.com/da/art/martino-altomonte-morte-di-seneca-9CWEBL-en/
    APA
    Altomonte, Martino (n.d.). Morte Di Seneca [Painting]. https://wahooart.com/da/art/martino-altomonte-morte-di-seneca-9CWEBL-en/
    Chicago
    Martino Altomonte. Morte Di Seneca. n.d. https://wahooart.com/da/art/martino-altomonte-morte-di-seneca-9CWEBL-en/
    Harvard
    Altomonte, Martino (n.d.) Morte Di Seneca. Available at: https://wahooart.com/da/art/martino-altomonte-morte-di-seneca-9CWEBL-en/

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    Morte Di Seneca — Martino Altomonte

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    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Se tilbage på Rest on the Flight to Egypt (1737) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
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