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)
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)
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”