In the US, honoring the "artist Medici" Carlo Dolci

The first US exhibition dedicated to Carlo Dolci, an outstanding Italian Baroque painter and draftsman of the Baroque era, opened in the Davis Museum at the University of Wellesley (Massachusetts), which changed the Renaissance Baroque style, unlike Renaissance art, which maintained the distance between the work and the audience, sought to shake the soul. Of course, successfully: the picturesque pearls of those times are true treasures. Read on. “The Medici artist: Carlo Dolcea and the 17th century in Florence” is an unprecedented opportunity to explore the life and work of one of the most important painters in Florence.His attention to detail, a bright palette and a smooth, like enamel, paint layer on the paintings won the patronage of the Medici clan - the most powerful family in the city.The Virgin and ChildKarlo Dolchi1640-е, 112.7 × 99.7 cm

Carlo (or Carlino) Dolci (1616 - 1686) is known for his masterfully executed religious themes, often repeated in many versions. His first works date from the mid-1620s, when he began his studies in the workshop of Jacopo Vignali. At the same time Dolchi can not be called prolific. As the biographer of the painter Filippo Baldinucci remarked, "he could write one foot for weeks." Because of his painstaking technology, Dolchi did not take large-scale orders for frescoes. His works, as a rule, are small, although some full-size images have survived.
Left: Carlo Dolci, “Double Self-Portrait” (1674)

“Although he was often forced to give in to the tastes of his customers, among whom was the Grand Duke Cosimo III [Medici] and who provided him with large incomes, he managed to retain his originality until 1675,” - read the more detailed biography of Carlo Dolce here.

Some facts about Carlo Dolci

Carlo Dolci was known for his piety. It is said that every year during the Passion Week he painted the half-figure of the Savior in a crown of thorns.
Dolchi's daughter, Agnes (died ca. 1680), was also an artist and made several beautiful copies of her father’s works.
The artist was blind to new trends, preferring the long-standing traditions of the school of Florentine painting, which examined each drawing under an academic microscope. Dolchi was often blamed for the excessive efforts that he spent on paintings, and for the fact that "his carnations did not look like real flowers, but as if carved from ivory."

Left: Carlo Dolcea, St. Peter's Repentance (1650s)

In 1682, after meeting with Luca Giordano, nicknamed "Fast", who wrote more than Dolchi for several months in five hours, the latter fell into depression and died four years later.Saint Apollonia of AlexandriaCarlo Dolci1670The best paintings of Carlo Dolcea are “Saint Sebastian”, “Four evangelists in Florence”, “Christ breaking bread”, “Saint Cecilia for the organ”, “Adoration of the Magi” and “Prayer of Saint Andrew before the crucifixion”. In 1656, the artist also created a large altarpiece for the church of St. Andrew the First-Called in Montevarchi. As was typical for Florentine artists, this is a picture of a painting: on it the Mother of God holds the miraculous icon with St. Dominic.Madonna and ChildKarlo Dolchi1651, 114.3 × 99.1 cmPictures of Carlo Dolci were very popular with aristocrats who performed the Grand Tour in the XVIII century, as well as with passionate American collectors of the XIX century. However, since then, the fame of the artist gradually faded.

The exhibition “The Medici Painter: Carlo Dolcea and the XVII Century in Florence” is intended to revive the reputation of the painter and return the attention of the public to it. The work of this master is regarded as an important diplomatic, political and cultural tool in the history of Florence.
This exhibition is the most ambitious project in the Davis Museum, dedicated to the old masters. It consists of more than fifty signed works sent by private collectors and such major world institutions as the Uffizi Gallery and Palazzo Pitti, the Louvre, the Metropolitan Museum, the Getty Museum, the Museum of Fine Arts in Houston, and so on.
Left: Carlo Dolchi's painting “The Penitent Magdalen” (circa 1670) from the collection of the Davis Museum became the “face” of the exhibition “Medici Artist: Carlo Dolci and the 17th century in Florence”

The exhibition “The Medici Painter: Carlo Dolcea and the 17th Century in Florence” will be open until July 9 at the Davis Museum. She will then move to the city of Durham (North Carolina) and will occupy the halls of the Nasher Art Museum from August 24, 2017 until January 14, 2018.PoetryCarlo Dolchi1640s, 54 × 42 cmAccording to the official website of the Davis Museum at Wellesley University and a number of other sources