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• W4288972414 abstract "Reviewed by: The Procaccini and the Business of Painting in Early Modern Milan by Angelo Lo Conte Esther Theiler Lo Conte, Angelo, The Procaccini and the Business of Painting in Early Modern Milan, New York, Routledge, 2020; hardback; pp. 174; 12 colour, 36 b/w illustrations; R.R.P. US$160.00; ISBN 9780367275396. This elegant, slender book charts the strategic manoeuvres enacted by the Procaccini patriarch Ercole the Elder (1520–1595), and his sons, Camillo (1561–1629), Carlo Antonio (1571–1630), and Giulio Cesare (1574–1625), in promoting and maintaining a thriving workshop of artists in Milan in the first decades of the seventeenth century. In his introduction, Angelo Lo Conte invokes the potential of theoretical approaches to family history to unpack the ‘formation and dissolution of family patterns over time’ (p. 2) but doesn’t return to these theories in any great depth. Nevertheless, the narrative works well to locate the success of the Procaccini within a framework in which interlocking family dynamics inform the entrepreneurial development of the workshop. It is also a story (like that of their contemporaries, the Carracci) of eventual diversification into individual careers and from a reliance on public commissions to a lucrative private market. The Procaccini emerged in a late-Mannerist Bologna deeply influenced by Correggio and Parmigianino and dominated by artists such as Prospero Fontana (father of the painter Lavinia Fontana) and the Passerotti. In the first chapter, Lo Conte canvasses his sources, from Carlo Cesare Malvasia’s account in his 1678 Felsina Pittrice (informed by Antonio Carlo’s son, Ercole the Younger) to more recent studies by Nikolaus Pevsner, Hugh Brigstocke, and Nancy Neilson, while noting that few of these examine the Procaccini as a family unit. He places them in the context of northern Italian post-Tridentine culture, foregrounding the austere cultural reforms propounded by Carlo Borromeo, his cousin Federico, and Gabriele Paleotti. Chapter 2 describes the establishment of the workshop in Bologna by Ercole the Elder and interactions with the Carracci, including teaching in the Carracci academy. Chapter 3 spends some time rehabilitating Milan, to which the family moved around 1587, as a cultural centre. In this phase, driven by Camillo, [End Page 254] Lo Conte locates them in a city bustling with the reconstruction and decoration of religious buildings consistent with Milan’s importance as a strategic capital in Spanish-ruled Lombardy. In Chapters 4, 5, and 6 the author is comprehensive in his account of their commissions and describes the way their ‘trademark style’ (p. 7) was promoted through the distribution of prints. Their teaching practices provided a solid visual education for the younger brothers and assured a bank of assistants who worked according to Camillo’s designs. The increasing individuation of each family member is described; Giulio Cesare, who trained as a sculptor, became a painter from 1602, and Carlo Antonio specialized in landscapes and flowers. Finally, the author illustrates relations with patrons ranging from the important Genoese collector Giovanni Carlo Doria to Milanese collectors and Spanish diplomats. In view of the often conventional ‘factory of images’ employed (p. 116), it would have been fascinating to hear more of Giulio Cesare’s abbozzi autonomi, oil sketches produced for discerning patrons that apparently influenced Genoese artists. Likewise, the portraits and self-portraits are barely mentioned—genres that offer a revealing alternative to the conventions of history painting. Five self-portraits by Giulio Cesare are extant and his c. 1600–05 self-portrait in the Koelliker Collection has been suggested (by Ann Sutherland Harris, ‘Vouet, le Bernin, et la “ressemblance parlante”’, in Simon Vouet: Actes du Colloque, ed. by Stéphane Loire, Paris, 1992, pp. 193–208) as a prototype for the speaking portraits that were explored by Simon Vouet (who met Giulio Cesare in Milan in 1621) and Gian Lorenzo Bernini. Also, a little more stylistic unpacking would be helpful. While the author lists their influences, what is the ‘recognizable style’ of the Procaccini (p. 114), which we are told displays ‘deliberate borrowings from Parmigianino and Correggio’ (p. 115) and Flemish and Netherlandish prototypes (p. 102)? If they achieve a ‘different kind of artistic reform’ (p. 26) to that of the Carracci and Caravaggio, how does..." @default.
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• W4288972414 title "The Procaccini and the Business of Painting in Early Modern Milan by Angelo Lo Conte" @default.
• W4288972414 doi "https://doi.org/10.1353/pgn.2022.0032" @default.
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