Giuseppe Bartolomeo Chiari, a prominent figure in the Roman art scene of the late 17th and early 18th centuries, stands as a testament to the enduring legacy of the Baroque tradition while subtly heralding the emergent Rococo sensibility. Born in Rome in 1654, Chiari's life and career were intrinsically linked to the Eternal City, where he rose to prominence under the tutelage of one of the era's leading masters, Carlo Maratta. His death in Rome in 1727 marked the end of a prolific career that saw him contribute significantly to the decoration of numerous churches and palaces, leaving behind an artistic heritage characterized by elegance, refined color, and a gentle, appealing sweetness.
Chiari's oeuvre, primarily consisting of religious and mythological subjects, reflects the prevailing tastes of his patrons, who included ecclesiastical authorities and noble Roman families. He skillfully navigated the grandiloquent demands of Baroque composition while infusing his works with a distinctive delicacy and charm that set him apart. His paintings are often praised for their harmonious compositions, graceful figures, and a palette that favored softer, more luminous hues than some of his more dramatically inclined contemporaries. Through his extensive output and his role as a teacher, Chiari played a crucial part in shaping the artistic landscape of Rome during a period of transition, influencing a subsequent generation of artists.
Early Life and Artistic Formation under Carlo Maratta
Giuseppe Bartolomeo Chiari's artistic journey began in the bustling artistic environment of Rome. While some earlier sources occasionally suggested Lucca as his birthplace, scholarly consensus, supported by numerous documents, confirms his Roman origin in 1654. His early artistic inclinations led him to the studio of Carlo Maratta (also spelled Maratti), who was then the undisputed leader of the Roman school of painting. Maratta, himself a student of Andrea Sacchi, represented the classical current within the Baroque, emphasizing drawing, balanced composition, and a certain idealized naturalism, in contrast to the more exuberant and dynamic style of artists like Pietro da Cortona or Giovanni Battista Gaulli, known as Baciccio.
Entering Maratta's studio was a significant step for any aspiring painter. Maratta's workshop was highly organized and productive, undertaking major commissions and also producing studio versions and copies of the master's successful compositions for a wider market. Chiari proved to be a gifted pupil, quickly absorbing Maratta's style and technique. He became one of Maratta's most favored assistants, entrusted with executing important parts of his master's large-scale projects and also creating refined replicas and variations of Maratta's works. This close association provided Chiari with invaluable training and exposure to the highest levels of artistic practice and patronage in Rome.
His early independent works, though still heavily indebted to Maratta's manner, began to show glimpses of his own emerging personality. An early documented commission, dating to around 1675, was for a fresco depicting Venus and Cupid for the Chigi family's garden pavilion, the Casino delle Quattro Fontane. This work, though perhaps not fully mature, indicated his growing confidence and ability to handle significant decorative projects. Throughout his formative years, Chiari diligently studied the works of High Renaissance masters like Raphael and Annibale Carracci, whose influence was filtered through Maratta's classicizing lens.
Development of an Independent Style: Grace, Delicacy, and Color
As Chiari matured as an artist, he gradually developed a more personal style that, while rooted in Maratta's classicism, possessed a distinct character. His figures became more slender and graceful, his compositions often imbued with a gentle lyricism, and his color palette lightened, exhibiting a preference for softer, more pearlescent tones. This "sweetness" or dolcezza in his art became a hallmark, appealing to the refined tastes of his patrons and distinguishing him from the more robust or dramatic tendencies of some other Baroque painters.
His approach can be seen as a softening of the High Baroque's grandeur, moving towards a more intimate and approachable aesthetic. While he could certainly execute large-scale, complex compositions with the requisite dignity, his strength often lay in conveying tender emotions and creating scenes of serene beauty. This refinement and elegance in his work are often cited as prefiguring elements of the Rococo style, which would fully blossom in France in the decades following his death, with artists like Jean-Antoine Watteau, François Boucher, and Jean-Honoré Fragonard.
Chiari's technical skill was considerable. He was adept at both oil painting and fresco, and his drawings reveal a confident and fluid hand. His ability to render rich fabrics, delicate flesh tones, and expressive, albeit idealized, faces contributed to the appeal of his work. He often revisited themes favored by Maratta, such as the Holy Family or mythological scenes, but he would reinterpret them with his own characteristic sensitivity.
Major Religious Commissions and Altarpieces
Rome, as the center of the Catholic Church, provided ample opportunities for artists specializing in religious subjects, and Chiari excelled in this domain. He received numerous commissions for altarpieces, frescoes, and other decorations for some of Rome's most important churches. These projects allowed him to demonstrate his mastery of large-scale narrative composition and his ability to convey complex theological themes with clarity and devotional power.
One of his significant undertakings was his contribution to the decoration of San Giovanni in Laterano (St. John Lateran), the cathedral of Rome. Here, he painted a series of oval canvases depicting Old Testament Prophets, part of a larger decorative scheme overseen by Maratta and involving other prominent artists. These works, executed with his characteristic elegance, showcased his ability to integrate his figures harmoniously within the architectural setting.
Chiari also executed important frescoes for the ceiling of San Paolo fuori le Mura (St. Paul's Outside the Walls), another of Rome's major basilicas. Though these were later destroyed by fire in the 19th century, records and preparatory studies attest to their quality and significance. He painted an altarpiece for the church of Santa Maria del Suffragio, and his works could also be found in Santa Maria in Traspontina and San Clemente, where he decorated the ceiling with scenes from the life of Saint Clement. His last completed work was reportedly a Holy Family for the church of Santa Susanna.
His religious paintings often feature serene Madonnas, graceful saints, and charming putti. A notable example is The Madonna and Child with Saint Catherine and Putti, which exemplifies his skill in creating balanced, harmonious compositions with a tender, devotional atmosphere. The soft modeling of the figures, the gentle interplay of light and shadow, and the refined color scheme are all characteristic of his mature style.
Mythological Subjects and Palace Decorations
Beyond religious commissions, Chiari was also highly sought after for mythological and allegorical paintings to adorn the palaces of Roman nobility. These subjects allowed for a different kind of expression, often focusing on themes of love, beauty, and heroism, and providing opportunities for depicting graceful nudes and elaborate settings. His classical training under Maratta equipped him well for these themes, which drew upon the rich heritage of Greco-Roman mythology.
One of Chiari's most celebrated works in this genre is Bathsheba at Her Bath. This painting, depicting the biblical episode where King David observes Bathsheba bathing, is a prime example of Chiari's refined sensuality and elegant figure-painting. While the subject had been treated by many artists, including his master Maratta, Chiari's version is distinguished by its delicate charm and the graceful, almost Rococo-like rendering of Bathsheba and her attendants. The composition is carefully balanced, the colors are soft and luminous, and the overall mood is one of intimate elegance rather than overt drama. This work is often cited as an example of his style's affinity with the emerging Rococo sensibility.
Another significant secular commission was for the Palazzo Colonna, one of Rome's most magnificent aristocratic residences. Chiari contributed to the decoration of the Great Hall (Galleria Colonna) with a large ceiling fresco, The Apotheosis of Marcantonio II Colonna. This grand allegorical work celebrated the military achievements of a distinguished member of the Colonna family, depicting him being received into Olympus. Such commissions were not merely decorative; they served to glorify the lineage and power of the patron family, and Chiari executed this task with the requisite grandeur and skill.
He also painted for other noble families, including the Barberini and the Spada. His mythological paintings often featured popular subjects like Venus, Diana, or scenes from Ovid's Metamorphoses, all rendered with his characteristic grace and refined palette. These works were highly prized for their decorative qualities and their sophisticated allusions to classical culture.
Chiari in the Roman Art World: Contemporaries and Collaborators
Giuseppe Bartolomeo Chiari operated within a vibrant and competitive artistic milieu in Rome. His primary artistic relationship was, of course, with his teacher, Carlo Maratta. Maratta's studio was a hub of artistic activity, and Chiari was one of its brightest stars. Other pupils of Maratta who became notable painters include Benedetto Luti, who, like Chiari, developed a refined and elegant style, and Andrea Procaccini.
Among his contemporaries, Chiari would have known and interacted with a wide range of artists. Francesco Trevisani, another prominent Roman painter of the period, shared a similar inclination towards a graceful and polished style, though with his own distinct characteristics. Michele Rocca, active in Rome, also produced works with a delicate, almost Rococo charm. While direct collaborations might not always be documented, the close-knit nature of the Roman art world meant that artists were aware of each other's work and often competed for the same commissions.
The influence of Neapolitan painting was also felt in Rome, with artists like Francesco Solimena enjoying an international reputation. Some scholars have suggested that Solimena's dynamic compositions and rich color might have had some impact on Chiari, particularly in certain works. However, Chiari's style remained fundamentally rooted in the Roman tradition of Maratta.
Chiari was an active member of the Accademia di San Luca, Rome's prestigious academy of artists. He served as its Principe (Director) from 1723 to 1725, a position that underscored his high standing within the Roman artistic community. This role involved overseeing the Academy's activities, including teaching and exhibitions, further solidifying his influence on the next generation. Other prominent artists who held this position around his time included Carlo Fontana, the architect, and Sebastiano Conca, a painter whose style also evolved towards a lighter, more decorative manner.
The broader Italian art scene included figures like Sebastiano Ricci and the young Giovanni Battista Tiepolo in Venice, who were developing the Venetian Rococo style with its brilliant light and color. While distinct from the Roman school, these developments were part of a wider European shift towards a lighter, more elegant aesthetic in the early 18th century, a trend to which Chiari's work contributed in its own way.
The Transition to Rococo Sensibilities
While firmly a product of the Late Baroque, Giuseppe Bartolomeo Chiari's art exhibits many qualities that anticipate the Rococo style, which would reach its zenith in France in the decades following his death. His preference for graceful, elongated figures, his lighter and more luminous palette, the intimate and often charming subject matter, and the overall emphasis on elegance and refinement all point towards this new aesthetic.
The Rococo, characterized by its asymmetry, pastel colors, playful themes, and emphasis on decorative intricacy, found its primary expression in interior design and painting. Artists like Jean-Antoine Watteau, with his fêtes galantes, François Boucher, with his sensuous mythological scenes, and Jean-Honoré Fragonard, with his scenes of love and leisure, defined the French Rococo. While Chiari's work did not fully embrace the exuberance or asymmetry of the Rococo, his departure from the more ponderous aspects of High Baroque classicism and his cultivation of a "sweeter" style made his art congenial to the evolving tastes of the early 18th century.
It is plausible that French artists visiting Rome, a common practice as part of their artistic education (often through the French Academy in Rome), would have encountered Chiari's work. His paintings, with their appealing blend of classical correctness and graceful charm, could have provided a model for a less formal and more decorative approach to art. Thus, Chiari can be seen as a transitional figure, whose art formed a bridge between the established Baroque tradition of Maratta and the emerging Rococo sensibility that would dominate much of European art in the subsequent decades.
Later Career, Final Works, and Teaching
Chiari remained active and highly regarded throughout his career. He continued to receive important commissions for both religious and secular works well into the 1720s. His studio was a productive one, and he, in turn, trained a number of pupils who carried on his stylistic tendencies. Among his notable students was Paolo Anesi, who became known primarily as a landscape painter, but whose early training would have been in figure painting under Chiari. William Kent, the English architect, landscape gardener, and painter, also reportedly spent some time in Chiari's studio during his stay in Rome.
His later works generally maintain the high quality and refined elegance that characterized his mature style. As mentioned, his last completed painting is believed to be a Holy Family for the high altar of the Church of Santa Susanna in Rome, a commission he undertook in his final years. This work, still in situ, demonstrates his enduring commitment to religious art and his ability to infuse traditional subjects with a gentle, devotional spirit.
The esteem in which Chiari was held is further evidenced by his election as Principe of the Accademia di San Luca. This leadership role not only recognized his artistic achievements but also his importance as a figure within the Roman art establishment. His tenure would have involved guiding the Academy's educational programs and upholding the standards of artistic practice in the city.
Giuseppe Bartolomeo Chiari died in Rome on September 8, 1727, at the age of 73. He left behind a substantial body of work that had significantly contributed to the artistic fabric of Rome and had garnered him considerable fame and respect during his lifetime.
Legacy and Collections
Giuseppe Bartolomeo Chiari's legacy is that of a highly skilled and influential painter who successfully navigated the artistic currents of Late Baroque Rome. He masterfully adapted the classical tradition inherited from Carlo Maratta, infusing it with a personal style characterized by grace, delicacy, and a refined sense of color. His ability to create works of both devotional power and secular charm ensured his popularity among a wide range of patrons.
His influence extended through his numerous students and through the widespread dissemination of his paintings. While perhaps not as revolutionary as some artists, his contribution lay in his consistent production of high-quality works that appealed to the evolving tastes of the early 18th century and subtly prefigured the Rococo. He represents a crucial link in the development of Roman painting, demonstrating how the Baroque tradition could be softened and refined without losing its expressive power.
Today, Chiari's paintings are held in numerous prestigious museums and private collections around the world. In Rome, his works can still be seen in many of the churches and palaces for which they were originally commissioned, such as San Giovanni in Laterano, Santa Maria del Suffragio, and the Palazzo Colonna. Major international museums holding his works include the Metropolitan Museum of Art in New York, the Victoria and Albert Museum in London, the Louvre in Paris, the Hermitage Museum in St. Petersburg, and the J. Paul Getty Museum in Los Angeles. These collections attest to his enduring significance and the lasting appeal of his elegant and refined art. His drawings are also well represented in print rooms, offering insights into his working methods and his skill as a draftsman.
Conclusion: An Enduring Figure of Roman Elegance
Giuseppe Bartolomeo Chiari remains a significant, if sometimes overlooked, master of the Late Roman Baroque. As a favored pupil of Carlo Maratta, he inherited a strong classical foundation, which he skillfully adapted to create a more personal style characterized by grace, sweetness, and a refined palette. His prolific output of religious and mythological paintings adorned many of Rome's most important churches and palaces, earning him considerable acclaim during his lifetime and a prominent position in the city's artistic hierarchy, culminating in his leadership of the Accademia di San Luca.
More than just a follower of Maratta, Chiari was an artist who responded to the changing aesthetic sensibilities of his time, his work often exhibiting a delicacy and charm that prefigured the Rococo. His paintings, whether grand altarpieces or more intimate cabinet pictures, consistently display a high level of technical skill and an appealing elegance. Through his art and his role as a teacher, Chiari left an indelible mark on the Roman art scene and contributed to the broader European transition towards a lighter, more decorative artistic language in the early 18th century. His works continue to be admired for their beauty, refinement, and the gentle spirit that infuses them, securing his place as a distinguished painter of his era.
