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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Sala di Galatea; Polyphemus
Work_PrefTitle
Sala di Galatea; Polyphemus
Preferred Title
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Alternate Title:
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Polyphemus
Work_AltTitle
Polyphemus
Alternate Title
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Image View:
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Detail, distant landscape and outlet to the sea
Image_Title
Detail, distant landscape and outlet to the sea
Image View
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Creator:
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Sebastiano del Piombo (Italian painter, ca. 1485-1547)
Agent_Display
Sebastiano del Piombo (Italian painter, ca. 1485-1547)
Creator
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Location:
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repository: Villa Farnesina (Rome, Lazio, Italy)
Work_Location_Type_D isplay
repository: Villa Farnesina (Rome, Lazio, Italy)
Location
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Location Note:
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Via della Lungara, 230; Sala di Galatea
Work_LocationNotes
Via della Lungara, 230; Sala di Galatea
Location Note
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GPS:
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41.893611 12.4675
GPS
41.893611 12.4675
GPS
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Date:
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ca. 1512 (creation)
Work_DateDisplay
ca. 1512 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
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Work Type 1:
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fresco (painting)
Work_Worktype1
fresco (painting)
Work Type 1
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Classification:
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painting
Work_Classification
painting
Classification
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Material:
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pigment on plaster
Work_MaterialDisplay
pigment on plaster
Material
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Technique:
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fresco painting (technique)
Work_Technique
fresco painting (technique)
Technique
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Measurements:
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295 cm (height) x 225 cm (width)
Work_MeasurementDisp lay
295 cm (height) x 225 cm (width)
Measurements
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Description:
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In early 1511 the Siennese banker Agostino Chigi came to Venice. When he returned to Rome in August, he took with him the painter he probably considered to be the best in Venice, Sebastiano. On his arrival in Rome, Sebastiano painted the frescoes in the lunettes of the loggia (Sala di Galatea) of Chigi’s villa, later known as Villa Farnesina; these consisted of mythological scenes set in the heavens. Beneath these a cycle of myths relating to water was probably intended: instead there is a large figure of Polyphemus facing towards the Galatea painted by Raphael. The theme is taken from a poem by the Florentine Angelo Poliziano where Polyphemus sings a song to the nymph. Sebastiano painted the fresco freehand in Venetian manner (instead of transferring a drawing), with colors of chemical composition and intensity hitherto unknown in Rome. The technical and stylistic innovation of these frescoes was noted by Vasari. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
In early 1511 the Siennese banker Agostino Chigi came to Venice. When he returned to Rome in August, he took with him the painter he probably considered to be the best in Venice, Sebastiano. On his arrival in Rome, Sebastiano painted the frescoes in the lunettes of the loggia (Sala di Galatea) of Chigi’s villa, later known as Villa Farnesina; these consisted of mythological scenes set in the heavens. Beneath these a cycle of myths relating to water was probably intended: instead there is a large figure of Polyphemus facing towards the Galatea painted by Raphael. The theme is taken from a poem by the Florentine Angelo Poliziano where Polyphemus sings a song to the nymph. Sebastiano painted the fresco freehand in Venetian manner (instead of transferring a drawing), with colors of chemical composition and intensity hitherto unknown in Rome. The technical and stylistic innovation of these frescoes was noted by Vasari. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A1-RS-VF-TP-C04
Image_OriginalVendor ID
7A1-RS-VF-TP-C04
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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