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Bernardo de' Dominici

January 01, 1970

Bernardo De Dominici or Bernardo de Dominici or Bernardo de' Dominici (1683–1759) was an Italian art historian and minor landscape and genre painter, active mainly in his native Naples. He is now best known as the author of the Vite dei pittori, scultori ed architetti napoletani, a three-volume collection of biographies of Neapolitan artists, for which he is sometimes called the Vasari of Naples.[1]

Bernardo de' Dominici

Life edit

Bernardo De Dominici was born in Naples on 13 December 1683 to Camilla Tartaglione and the Maltese painter, musician and collector Raimondo de' Dominici (1645-1705). He was the younger brother of the actor, musician, and composer Giampaolo De Dominici (1680-1758), and nephew of Suor Maria de Dominici, a Maltese artist. His father had been a pupil of Mattia Preti in Malta and had moved to Naples when he was around 20 years of age. In one of the few autobiographical statements, De Dominici remarked that in 1698, when he was around 14 years old, his father took him to Malta, where Bernardo studied with Preti briefly until the elderly painter's death in January 1699.[2]

After Bernardo De Dominici's return to Naples in 1701, he dedicated himself to painting as a pupil of Francesco Solimena, who, though primarily a history painter, trained him in landscape painting. He also studied under the German landscape painter Franz Joachim Beich, who was then working in Naples, as well as with the Dutch painter Paul Ganses, a specialist in moonlit seascapes.[3] For many years, De Dominici lived in the household of the duke of Laurenzana (or Laurenzano), Niccolò Gaetani dell'Aquila d'Aragona, and his wife, Aurora Sanseverino (1669-1726), patron, poet, and member of the Roman Accademia degli Arcadi, a literary and philosophical society, whose branch in Naples she hosted. As he later described it, De Dominici served the duchess "as a painter of landscapes, seascapes, and scenes of everyday life" (bambocciate or genre scenes), sometimes in collaboration with Domenico Brandi, who specialized in painting animals.[4][3][5][6] De Dominici claimed that his bambocciate pleased the public as well as Count Harrach, the important collector and Austrian viceroy of Naples (1728-1733).[4] No paintings by De Dominici have been identified, however, although an inventory of the duke of Laurenzana's collection lists eleven small landscapes by him.[6]

In great part because of his association with Sanseverino, De Dominici was in contact with the intellectual and artistic elite of Naples, among them Solimena, Giambattista Vico, Francesco Valletta, Matteo Egizio, and Antonio Roviglione, with whom he exchanged sonnets.[3] By 1721, De Dominici was gathering biographical material on Neapolitan artists.[6] He published a biography of Luca Giordano in 1728 and his Lives of the Neapolitan Painters, Sculptors, and Architects in three volumes from 1742 to 1745.

De Dominici was married twice: to Palma Vittoria Nicolini in 1717 and to a Roman widow, Maria Marta Maddalena Quaresima, in 1735.[7]

More than once, but unsuccessfully, De Dominici petitioned king Charles VII of Naples (later, from 1759, king Charles III of Spain) to appoint him director of the royal gallery of paintings.[8] De Dominici died in poverty on 30 April 1759.[8] He was buried in the Neapolitan church of Santa Croce di Palazzo.[7]

Lives of the Neapolitan Painters, Sculptors, and Architects edit

Bernardo De Dominici's first publication, a biography of the most celebrated Neapolitan painter, Luca Giordano (1634-1705), was appended to the second edition of Giovanni Pietro Bellori's Lives of the Artists, published in Naples in 1728 by Francesco Ricciardi (or Ricciardo),[9] who republished the Giordano biography as a stand-alone book in 1729.[10] Ricciardi was subsequently responsible for the publication of several important texts on art, including De Dominici's major work, the Lives of the Neapolitan Painters, Sculptors, and Architects (Vite dei pittori, scultori ed architetti napoletani).[11] In this three-volume collection of biographies, published in Naples in 1742-1745, De Dominici treated artists from the thirteenth century to his own time. Most of the artists were Neapolitan natives or immigrants who spent most of their careers in Naples, though De Dominici also included famous Neapolitans who made their careers largely or entirely elsewhere (namely, Salvator Rosa and Gian Lorenzo Bernini). He discussed but did not devote full biographies to significant artists who worked in Naples relatively briefly, such as Caravaggio, Domenichino, Guido Reni, Giovanni Lanfranco, and Artemisia Gentileschi. The most important immigrant artist in Naples, the Spaniard Jusepe de Ribera, De Dominici mistakenly thought to have been born in Gallipoli, in the province of Lecce (then part of the Spanish viceroyalty of Naples), albeit the son of a Spanish father.

De Dominici's Lives comprises almost one hundred chapters, ranging in length from a single page to nearly 150 pages, each of which is called either a life (vita), notice (notizia), or recollection (memoria). Its structure follows that of Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects, with prefatory material to each volume followed by biographies arranged chronologically. Like other collections of biographies of regional Italian artists published in the nearly two centuries since the appearance of Vasari's Lives, such as Carlo Cesare Malvasia's Felsina pittrice, vite de’ pittori bolognesi (1678), De Dominici's Lives offered a complement to, and updating and implicit critique of, Vasari's Tuscany-focused book. In his Le vite de' pittori, scultori, architetti perugini of 1732, Lione Pascali noted that what others had done for Venice, Modena, Genoa, Bologna, and Verona, De Dominici was doing for Naples.[12] In his address to the Eletti (representatives) of the city of Naples in the first volume of his Lives, De Dominici noted that "Florence, Bologna, Venice, Genoa, and other illustrious cities, . . boasting the merits of their professors [of art] and raising to the stars the excellent works they had made, wanted their youth to follow in the glorious footsteps of the Raphaels, Correggios, Titians, and Michelangelos."[13] Moved by such examples to pity the fate of many praiseworthy Neapolitan painters, architects, and sculptors, De Dominici wrote, he determined to raise them from the darkness of oblivion in which they languished.[13]

De Dominici's Lives did not sell well.[14][15] A four-volume edition of the Lives was published in Naples in 1840-1846.[16] An annotated edition was published in 2003.[17] Aside from excerpts, the book has not been translated into any other language from its original Italian.

The Lives came under significant criticism already in the eighteenth century,[18] though it remained an authoritative source through the nineteenth century until some scholars, especially those associated with the new journal, Napoli nobilissima, called for a modern "critical history" of art in Naples, based on documents and philological scrutiny of narratives, inscriptions and other texts, that would obviate De Dominici's text.[19] The critique and dismissal of De Dominici as a source achieved its most pointed expression when the young Benedetto Croce dubbed him "Il Falsario" ("The Forger") in an 1892 essay in the journal.[20] Many of De Dominici's assertions have proven to be inaccurate, and considerable criticism has been levied against his use of putative sources (especially a manuscript from the 16th-century "notary Criscuolo" and notes from the 17th-century painter Massimo Stanzione) that were suspected of being invented by the author himself.[21] Nonetheless, efforts have been made since the second half of the twentieth century to recover the Lives' utility for historians of Neapolitan art by recognizing his astute criticism of works of art and understanding the rhetorical mode of the genre of early-modern biographies in which De Dominici wrote.[22][23] The growing appreciation for De Dominici's connoisseurship has helped scholars revisit questions such as the use of drawings in early-modern Naples.[24]

References edit

  1. ^ Ferdinando Bologna, "De Dominici, Bernardo," In Dizionario Biografico degli Italiani, 33 (1987); https://www.treccani.it/enciclopedia/bernardo-de-dominici/; accessed 22 December 2023.
  2. ^ Bernardo De Dominici, Vite de' pittori, scultori, ed architetti napoletani, 3 vols. (Naples: Francesco Ricciardi, 1742-45), 2:n.p. ("Prefazione"); https://archive.org/details/vitedepittoriscu1to2dedo/page/n247/mode/2up; accessed 6 December 2023.
  3. ^ a b c Ferdinando Bologna, "De Dominici, Bernardo," In Dizionario Biografico degli Italiani, 33 (1987); https://www.treccani.it/enciclopedia/bernardo-de-dominici/; accessed 22 December 2023.
  4. ^ a b Bernardo De Dominici, Vite de' pittori, scultori, ed architetti napoletani, 3 vols. (Naples: Francesco Ricciardi, 1742-45), 3:563; https://archive.org/details/vitedepittoriscu03dedo/page/562/mode/2up; accessed 6 December 2023.
  5. ^ Thomas Willette, "Bernardo De Dominici e le Vite de' pittori, scultori ed architetti napoletani: contributo alla riabilitazione di una fonte," Ricerche sul '600 napoletano: Dedicato a Ulisse Prota-Giurleo nel centenario della nascita (Milan: Edizioni L & T, 1986); https://www.academia.edu/678548/Bernardo_De_Dominici_e_le_Vite_depittori_scultori_ed_architetti_napoletani_Contributo_alla_riabilitazione_di_una_fonte; accessed 18 December 2023.
  6. ^ a b c Thomas Willette, "Dominici, Bernardo de," Grove Art Online; https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000023230; accessed 6 December 2023.
  7. ^ a b Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani. Indici, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xv.
  8. ^ a b Andrea Zezza, "Postfazione," in Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani. Indici, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2014), 3:15.
  9. ^ Bernardo De Dominici, "Vita del cavaliere D. Luca Giordano pittore napoletano," in Giovanni Pietro Bellori, Le Vite de pittori, scultori, ed architetti moderni (Rome [for which read Naples]: Francesco Ricciardo and Giuseppe Buono, 1728), 304-95; https://archive.org/details/gri_33125008714053/page/n341/mode/2up; accessed 10 October 2023.
  10. ^ [Bernardo De Dominici], Vita del cavaliere d. Luca Giordano, pittore napoletano (Naples: Francesco Ricciardo, 1729). https://archive.org/details/vitadelcavalier00domigoog; accessed 1 November 2023.
  11. ^ Thomas Willette, "The Second Edition of Bellori's Lives: Placing Luca Giordano in the Canon of Moderns," in Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, ed. Janis Bell and Thomas Willette (Cambridge: Cambridge University Press, 2002); https://www.academia.edu/678547/The_Second_Edition_of_Belloris_Lives_Placing_Luca_Giordano_in_the_Canon_of_Moderns; accessed 6 December 2023.
  12. ^ Lione Pascoli, Vite de' pittori, scultori, ed architetti perugini (Rome: Antonio de' Rossi, 1732), 12; https://archive.org/details/bub_gb_e5IfrxB7ZO4C/page/n29/mode/2up; accessed 20 December 2023.
  13. ^ a b Bernardo De Dominici, Vite de' pittori, scultori, ed architetti napoletani, 3 vols. (Naples: Francesco Ricciardi, 1742-45), 1:n.p. ("Agli Eccellentiss[imi] Signori Eletti"); https://archive.org/details/vitedepittoriscu03dedo/page/n3/mode/2up; accessed 15 December 2023.
  14. ^ Thomas Willette, "Notes on the Publication History of Bernardo De Dominici's Vite," in Napoli, L'Europa: Ricerche di storia dell'arte in onore di Ferdinando Bologna (Catanzaro: Meridiana Libri, 1995), 271-75.
  15. ^ Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani. Indici, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xxiii.
  16. ^ Bernardo De Dominici, Vite dei pittori, scultori ed architetti napoletani, 4 vols. (Naples: Dalla Tipografia Trani, 1840-1846).
  17. ^ Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani, ed. Fiorella Sricchia Santoro and Andrea Zezza, 5 vols. (Naples: Paparo Edizioni, 2003-2017).
  18. ^ Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani. Indici, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xx-xxiv.
  19. ^ Thomas Willette, "È stata opera di critica onesta, liberale, italiana: Benedetto Croce and Napoli Nobilissima (1892-1906)," in The Legacy of Benedetto Croce: Contemporary Critical Views, ed. Jack D'Amico, Dain A. Trafton, and Massimo Verdicchio (Toronto: University of Toronto Press, 1999), 52-87; https://www.academia.edu/9844140/%C3%88_stata_opera_di_critica_onesta_liberale_italiana_Benedetto_Croce_and_Napoli_Nobilissima_1892_1906_; accessed 22 December 2023.
  20. ^ Benedetto Croce, "Sommario critico della storia dell'arte nel napoletano I. Il Falsario," Napoli nobilissima 1 (1892): 122-26, 140-44; https://digi.ub.uni-heidelberg.de/diglit/napoli_nobilissima1892/0144/image,info; accessed 18 December 2023.
  21. ^ Fiorella Sricchia Santoro, "Introduzione," in Bernardo De Dominici, Vite de' pittori, scultori ed architetti napoletani. Indici, ed. Fiorella Sricchia Santoro and Andrea Zezza (Naples: Paparo Edizioni, 2003), 1-2:xxxvi-xl.
  22. ^ Thomas Willette, "Bernardo De Dominici e le Vite de' pittori, scultori ed architetti napoletani: contributo alla riabilitazione di una fonte," Ricerche sul '600 napoletano: Dedicato a Ulisse Prota-Giurleo nel centenario della nascita (Milan: Edizioni L & T, 1986); https://www.academia.edu/678548/Bernardo_De_Dominici_e_le_Vite_depittori_scultori_ed_architetti_napoletani_Contributo_alla_riabilitazione_di_una_fonte; accessed 18 December 2023.
  23. ^ Judith Colton, "The Fall and Rise of Bernardo De Dominici," in A Taste for Angels: Neapolitan Painting in North America 1650-1750 (New Haven, CT: Yale University Art Gallery, 1987), pp. 57-68.
  24. ^ Francesco Solinas et Sebastian Schütze, eds., Le dessin napolitain (Roma: De Luca, 2010).

January 01, 1970
bernardo, dominici, bernardo, dominici, bernardo, dominici, 1683, 1759, italian, historian, minor, landscape, genre, painter, active, mainly, native, naples, best, known, author, vite, pittori, scultori, architetti, napoletani, three, volume, collection, biogr. Bernardo De Dominici or Bernardo de Dominici or Bernardo de Dominici 1683 1759 was an Italian art historian and minor landscape and genre painter active mainly in his native Naples He is now best known as the author of the Vite dei pittori scultori ed architetti napoletani a three volume collection of biographies of Neapolitan artists for which he is sometimes called the Vasari of Naples 1 Bernardo de DominiciLife editBernardo De Dominici was born in Naples on 13 December 1683 to Camilla Tartaglione and the Maltese painter musician and collector Raimondo de Dominici 1645 1705 He was the younger brother of the actor musician and composer Giampaolo De Dominici 1680 1758 and nephew of Suor Maria de Dominici a Maltese artist His father had been a pupil of Mattia Preti in Malta and had moved to Naples when he was around 20 years of age In one of the few autobiographical statements De Dominici remarked that in 1698 when he was around 14 years old his father took him to Malta where Bernardo studied with Preti briefly until the elderly painter s death in January 1699 2 After Bernardo De Dominici s return to Naples in 1701 he dedicated himself to painting as a pupil of Francesco Solimena who though primarily a history painter trained him in landscape painting He also studied under the German landscape painter Franz Joachim Beich who was then working in Naples as well as with the Dutch painter Paul Ganses a specialist in moonlit seascapes 3 For many years De Dominici lived in the household of the duke of Laurenzana or Laurenzano Niccolo Gaetani dell Aquila d Aragona and his wife Aurora Sanseverino 1669 1726 patron poet and member of the Roman Accademia degli Arcadi a literary and philosophical society whose branch in Naples she hosted As he later described it De Dominici served the duchess as a painter of landscapes seascapes and scenes of everyday life bambocciate or genre scenes sometimes in collaboration with Domenico Brandi who specialized in painting animals 4 3 5 6 De Dominici claimed that his bambocciate pleased the public as well as Count Harrach the important collector and Austrian viceroy of Naples 1728 1733 4 No paintings by De Dominici have been identified however although an inventory of the duke of Laurenzana s collection lists eleven small landscapes by him 6 In great part because of his association with Sanseverino De Dominici was in contact with the intellectual and artistic elite of Naples among them Solimena Giambattista Vico Francesco Valletta Matteo Egizio and Antonio Roviglione with whom he exchanged sonnets 3 By 1721 De Dominici was gathering biographical material on Neapolitan artists 6 He published a biography of Luca Giordano in 1728 and his Lives of the Neapolitan Painters Sculptors and Architects in three volumes from 1742 to 1745 De Dominici was married twice to Palma Vittoria Nicolini in 1717 and to a Roman widow Maria Marta Maddalena Quaresima in 1735 7 More than once but unsuccessfully De Dominici petitioned king Charles VII of Naples later from 1759 king Charles III of Spain to appoint him director of the royal gallery of paintings 8 De Dominici died in poverty on 30 April 1759 8 He was buried in the Neapolitan church of Santa Croce di Palazzo 7 Lives of the Neapolitan Painters Sculptors and Architects editBernardo De Dominici s first publication a biography of the most celebrated Neapolitan painter Luca Giordano 1634 1705 was appended to the second edition of Giovanni Pietro Bellori s Lives of the Artists published in Naples in 1728 by Francesco Ricciardi or Ricciardo 9 who republished the Giordano biography as a stand alone book in 1729 10 Ricciardi was subsequently responsible for the publication of several important texts on art including De Dominici s major work the Lives of the Neapolitan Painters Sculptors and Architects Vite dei pittori scultori ed architetti napoletani 11 In this three volume collection of biographies published in Naples in 1742 1745 De Dominici treated artists from the thirteenth century to his own time Most of the artists were Neapolitan natives or immigrants who spent most of their careers in Naples though De Dominici also included famous Neapolitans who made their careers largely or entirely elsewhere namely Salvator Rosa and Gian Lorenzo Bernini He discussed but did not devote full biographies to significant artists who worked in Naples relatively briefly such as Caravaggio Domenichino Guido Reni Giovanni Lanfranco and Artemisia Gentileschi The most important immigrant artist in Naples the Spaniard Jusepe de Ribera De Dominici mistakenly thought to have been born in Gallipoli in the province of Lecce then part of the Spanish viceroyalty of Naples albeit the son of a Spanish father De Dominici s Lives comprises almost one hundred chapters ranging in length from a single page to nearly 150 pages each of which is called either a life vita notice notizia or recollection memoria Its structure follows that of Giorgio Vasari s Lives of the Most Excellent Painters Sculptors and Architects with prefatory material to each volume followed by biographies arranged chronologically Like other collections of biographies of regional Italian artists published in the nearly two centuries since the appearance of Vasari s Lives such as Carlo Cesare Malvasia s Felsina pittrice vite de pittori bolognesi 1678 De Dominici s Lives offered a complement to and updating and implicit critique of Vasari s Tuscany focused book In his Le vite de pittori scultori architetti perugini of 1732 Lione Pascali noted that what others had done for Venice Modena Genoa Bologna and Verona De Dominici was doing for Naples 12 In his address to the Eletti representatives of the city of Naples in the first volume of his Lives De Dominici noted that Florence Bologna Venice Genoa and other illustrious cities boasting the merits of their professors of art and raising to the stars the excellent works they had made wanted their youth to follow in the glorious footsteps of the Raphaels Correggios Titians and Michelangelos 13 Moved by such examples to pity the fate of many praiseworthy Neapolitan painters architects and sculptors De Dominici wrote he determined to raise them from the darkness of oblivion in which they languished 13 De Dominici s Lives did not sell well 14 15 A four volume edition of the Lives was published in Naples in 1840 1846 16 An annotated edition was published in 2003 17 Aside from excerpts the book has not been translated into any other language from its original Italian The Lives came under significant criticism already in the eighteenth century 18 though it remained an authoritative source through the nineteenth century until some scholars especially those associated with the new journal Napoli nobilissima called for a modern critical history of art in Naples based on documents and philological scrutiny of narratives inscriptions and other texts that would obviate De Dominici s text 19 The critique and dismissal of De Dominici as a source achieved its most pointed expression when the young Benedetto Croce dubbed him Il Falsario The Forger in an 1892 essay in the journal 20 Many of De Dominici s assertions have proven to be inaccurate and considerable criticism has been levied against his use of putative sources especially a manuscript from the 16th century notary Criscuolo and notes from the 17th century painter Massimo Stanzione that were suspected of being invented by the author himself 21 Nonetheless efforts have been made since the second half of the twentieth century to recover the Lives utility for historians of Neapolitan art by recognizing his astute criticism of works of art and understanding the rhetorical mode of the genre of early modern biographies in which De Dominici wrote 22 23 The growing appreciation for De Dominici s connoisseurship has helped scholars revisit questions such as the use of drawings in early modern Naples 24 References edit Ferdinando Bologna De Dominici Bernardo In Dizionario Biografico degli Italiani 33 1987 https www treccani it enciclopedia bernardo de dominici accessed 22 December 2023 Bernardo De Dominici Vite de pittori scultori ed architetti napoletani 3 vols Naples Francesco Ricciardi 1742 45 2 n p Prefazione https archive org details vitedepittoriscu1to2dedo page n247 mode 2up accessed 6 December 2023 a b c Ferdinando Bologna De Dominici Bernardo In Dizionario Biografico degli Italiani 33 1987 https www treccani it enciclopedia bernardo de dominici accessed 22 December 2023 a b Bernardo De Dominici Vite de pittori scultori ed architetti napoletani 3 vols Naples Francesco Ricciardi 1742 45 3 563 https archive org details vitedepittoriscu03dedo page 562 mode 2up accessed 6 December 2023 Thomas Willette Bernardo De Dominici e le Vite de pittori scultori ed architetti napoletani contributo alla riabilitazione di una fonte Ricerche sul 600 napoletano Dedicato a Ulisse Prota Giurleo nel centenario della nascita Milan Edizioni L amp T 1986 https www academia edu 678548 Bernardo De Dominici e le Vite depittori scultori ed architetti napoletani Contributo alla riabilitazione di una fonte accessed 18 December 2023 a b c Thomas Willette Dominici Bernardo de Grove Art Online https www oxfordartonline com groveart view 10 1093 gao 9781884446054 001 0001 oao 9781884446054 e 7000023230 accessed 6 December 2023 a b Fiorella Sricchia Santoro Introduzione in Bernardo De Dominici Vite de pittori scultori ed architetti napoletani Indici ed Fiorella Sricchia Santoro and Andrea Zezza Naples Paparo Edizioni 2003 1 2 xv a b Andrea Zezza Postfazione in Bernardo De Dominici Vite de pittori scultori ed architetti napoletani Indici ed Fiorella Sricchia Santoro and Andrea Zezza Naples Paparo Edizioni 2014 3 15 Bernardo De Dominici Vita del cavaliere D Luca Giordano pittore napoletano in Giovanni Pietro Bellori Le Vite de pittori scultori ed architetti moderni Rome for which read Naples Francesco Ricciardo and Giuseppe Buono 1728 304 95 https archive org details gri 33125008714053 page n341 mode 2up accessed 10 October 2023 Bernardo De Dominici Vita del cavaliere d Luca Giordano pittore napoletano Naples Francesco Ricciardo 1729 https archive org details vitadelcavalier00domigoog accessed 1 November 2023 Thomas Willette The Second Edition of Bellori s Lives Placing Luca Giordano in the Canon of Moderns in Art History in the Age of Bellori Scholarship and Cultural Politics in Seventeenth Century Rome ed Janis Bell and Thomas Willette Cambridge Cambridge University Press 2002 https www academia edu 678547 The Second Edition of Belloris Lives Placing Luca Giordano in the Canon of Moderns accessed 6 December 2023 Lione Pascoli Vite de pittori scultori ed architetti perugini Rome Antonio de Rossi 1732 12 https archive org details bub gb e5IfrxB7ZO4C page n29 mode 2up accessed 20 December 2023 a b Bernardo De Dominici Vite de pittori scultori ed architetti napoletani 3 vols Naples Francesco Ricciardi 1742 45 1 n p Agli Eccellentiss imi Signori Eletti https archive org details vitedepittoriscu03dedo page n3 mode 2up accessed 15 December 2023 Thomas Willette Notes on the Publication History of Bernardo De Dominici s Vite in Napoli L Europa Ricerche di storia dell arte in onore di Ferdinando Bologna Catanzaro Meridiana Libri 1995 271 75 Fiorella Sricchia Santoro Introduzione in Bernardo De Dominici Vite de pittori scultori ed architetti napoletani Indici ed Fiorella Sricchia Santoro and Andrea Zezza Naples Paparo Edizioni 2003 1 2 xxiii Bernardo De Dominici Vite dei pittori scultori ed architetti napoletani 4 vols Naples Dalla Tipografia Trani 1840 1846 Bernardo De Dominici Vite de pittori scultori ed architetti napoletani ed Fiorella Sricchia Santoro and Andrea Zezza 5 vols Naples Paparo Edizioni 2003 2017 Fiorella Sricchia Santoro Introduzione in Bernardo De Dominici Vite de pittori scultori ed architetti napoletani Indici ed Fiorella Sricchia Santoro and Andrea Zezza Naples Paparo Edizioni 2003 1 2 xx xxiv Thomas Willette E stata opera di critica onesta liberale italiana Benedetto Croce and Napoli Nobilissima 1892 1906 in The Legacy of Benedetto Croce Contemporary Critical Views ed Jack D Amico Dain A Trafton and Massimo Verdicchio Toronto University of Toronto Press 1999 52 87 https www academia edu 9844140 C3 88 stata opera di critica onesta liberale italiana Benedetto Croce and Napoli Nobilissima 1892 1906 accessed 22 December 2023 Benedetto Croce Sommario critico della storia dell arte nel napoletano I Il Falsario Napoli nobilissima 1 1892 122 26 140 44 https digi ub uni heidelberg de diglit napoli nobilissima1892 0144 image info accessed 18 December 2023 Fiorella Sricchia Santoro Introduzione in Bernardo De Dominici Vite de pittori scultori ed architetti napoletani Indici ed Fiorella Sricchia Santoro and Andrea Zezza Naples Paparo Edizioni 2003 1 2 xxxvi xl Thomas Willette Bernardo De Dominici e le Vite de pittori scultori ed architetti napoletani contributo alla riabilitazione di una fonte Ricerche sul 600 napoletano Dedicato a Ulisse Prota Giurleo nel centenario della nascita Milan Edizioni L amp T 1986 https www academia edu 678548 Bernardo De Dominici e le Vite depittori scultori ed architetti napoletani Contributo alla riabilitazione di una fonte accessed 18 December 2023 Judith Colton The Fall and Rise of Bernardo De Dominici in A Taste for Angels Neapolitan Painting in North America 1650 1750 New Haven CT Yale University Art Gallery 1987 pp 57 68 Francesco Solinas et Sebastian Schutze eds Le dessin napolitain Roma De Luca 2010 Retrieved from https en wikipedia org w index php title Bernardo de 27 Dominici amp oldid 1198006592, wikipedia, wiki, book, books, library,

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