Pier Francesco Cittadini, often distinguished by the epithet "Il Milanese" due to his Milanese origins, stands as a significant, if sometimes overlooked, figure in the vibrant artistic landscape of seventeenth-century Italy. Born in Milan in 1616, he carved out a prolific career primarily in Bologna, a city then pulsating with artistic innovation, largely under the influence of the Carracci and their followers. Cittadini's oeuvre is characterized by its versatility, encompassing elegant still lifes, insightful portraits, and compelling religious narratives. He passed away in Bologna in 1681, leaving behind a body of work that reflects both the prevailing artistic currents of his time and his unique sensibilities.
Early Life and Artistic Formation in Milan and Bologna
Cittadini's artistic journey began in his native Milan, a prominent cultural hub in Lombardy. His initial training was under the guidance of Daniele Crespi (c. 1598–1630), a leading Milanese painter known for his dramatic religious compositions and expressive portraiture, deeply rooted in the Lombard tradition of naturalism. Crespi's influence likely instilled in the young Cittadini a foundational respect for direct observation and a robust approach to form and color.
However, the allure of Bologna, then a preeminent center for artistic training and patronage, proved irresistible. Around the age of seventeen, in approximately 1633 or 1634, Cittadini made the pivotal decision to relocate. There, he entered the prestigious workshop of Guido Reni (1575–1642), one of the most celebrated and influential Italian painters of the Baroque era. Reni's studio was a crucible of talent, attracting aspiring artists from across Italy and beyond, eager to learn from the master's refined classicism, graceful figures, and luminous palette.
The impact of Reni's tutelage on Cittadini's early development was profound. This is evident in early religious commissions, such as the Stoning of St. Stephen, executed in 1637 for the Basilica di Santo Stefano in Bologna. This work, along with others for the same church like the Flagellation and the Crowning with Thorns, demonstrates Cittadini's assimilation of Reni's elegant figural style and compositional clarity, while also hinting at his own burgeoning artistic personality. These early successes helped establish his reputation in Bologna's competitive art world.
The Roman Sojourn and Stylistic Maturation
In the mid-1640s, seeking to broaden his artistic horizons, Pier Francesco Cittadini embarked on a journey to Rome. This period was crucial for many artists, as Rome was not only the heart of the Catholic Church and a source of major commissions but also a melting pot of international artistic talent. In Rome, Cittadini would have encountered the works of classical antiquity, High Renaissance masters, and contemporary luminaries.
His time in Rome exposed him to a diverse range of artistic influences, including the classicism of French painters like Nicolas Poussin (1594–1665) and Claude Lorrain (1600–1682), who were active in the city. He also came into contact with the works of Flemish and Dutch artists, particularly those specializing in genre scenes and still life, often referred to as the "Bamboccianti," such as Pieter van Laer (1599–c. 1642). These encounters likely enriched his palette, refined his technique, and broadened his thematic repertoire.
This Roman experience is believed to have contributed to a subtle shift in his style, possibly infusing his work with elements that would later be associated with the nascent Rococo, characterized by a lighter touch, more decorative qualities, and an intimate sensibility. Works from this period or immediately following, such as Lot and His Daughters and Hagar and the Angel, showcase his evolving narrative skills and his ability to convey emotion with a sophisticated grace that balanced his Lombard naturalism with Bolognese classicism and Roman grandeur. The influence of Roman naturalism, perhaps akin to that seen in the works of artists like Cristoforo Munari (1667-1720), though Munari was later, can be discerned in the tactile quality of surfaces and the careful observation of light.
Mastery in Still Life Painting
While Cittadini was adept at religious and mythological subjects, he achieved particular renown for his exquisite still life paintings. In the seventeenth century, still life, or "natura morta," was gaining increasing appreciation as an independent genre, especially in Northern Italy and the Netherlands. Bologna was no exception, with artists like Paolo Antonio Barbieri (1603–1649), brother of the more famous Guercino, specializing in this field.
Cittadini's still lifes are celebrated for their meticulous detail, rich coloration, and sophisticated compositions. He depicted a wide array of subjects: opulent arrangements of flowers in ornate vases, bountiful displays of fruit, game, fish, and elaborate table settings with sweets, cheeses, and fine tableware. A notable example is his Still Life with Fruit and Sweets from around 1650, and the intricately detailed Vase of Flowers with Olives of Pale Olives, Salami, Cheese, Jam, Chalice and a White Fringed Cloth, also dated to 1650. These works often carry symbolic meanings, alluding to the transience of life (vanitas), the bounty of nature, or the pleasures of the senses.
His approach to still life combined a Northern European precision in rendering textures and details with an Italianate sense of balance and harmony. The so-called "natural death" style, referring to the depiction of game or deceased animals, was a common theme, and Cittadini excelled in capturing the varied textures of fur and feather. His compositions are often dynamic, with objects artfully arranged to create a sense of depth and visual interest. He was a contemporary of other Italian still life painters such as Evaristo Baschenis (1617–1677), known for his depictions of musical instruments, though Baschenis worked primarily in Bergamo. Cittadini's contribution to this genre in Bologna was significant, influencing local taste and other practitioners like Antonio Mezzadri and Maria Antonia Zagni.
Portraiture and Continued Religious Commissions
Alongside his still lifes, Pier Francesco Cittadini was a sought-after portraitist. While specific attributed portraits are less frequently discussed than his still lifes or major religious works, his skill in capturing a sitter's likeness and character was recognized. His portraits would have likely combined the Lombard tradition of psychological insight, seen in the work of his first master Daniele Crespi, with the more idealized and elegant approach favored by Guido Reni and the Bolognese school.
Throughout his career in Bologna, Cittadini continued to receive commissions for religious paintings. His Conversion of St. Paul, painted around 1641 for the vaulting around the cupola of San Paolo Maggiore in Bologna, is another testament to his abilities in large-scale narrative composition. These works demonstrate his capacity to work within the established conventions of religious art while imbuing his figures with a sense of vitality and emotional depth. He navigated the expectations of patrons, often ecclesiastical, delivering works that were both doctrinally sound and aesthetically pleasing.
His versatility allowed him to cater to a diverse clientele, from churches and religious orders seeking altarpieces and frescoes, to private collectors desiring sophisticated still lifes or dignified portraits. This adaptability was key to sustaining a successful career in a competitive artistic environment.
Collaborations, Workshop, and Artistic Family
Like many artists of his time, Cittadini likely maintained an active workshop to assist with larger commissions and to train apprentices. Collaboration was also a common practice. Records indicate he collaborated with other artists, such as Mariano Colonna, with whom he reportedly created a work depicting a Naked Saint Pierced with Nails, and Marcantonio Franceschini (1648–1729), a younger Bolognese painter who himself became a prominent figure in the late Baroque. Their joint work, La Fama e il tempo che incatena la speranza a sedere (Fame and Time chaining Hope to a seat), highlights the interactive nature of the Bolognese art scene.
Pier Francesco Cittadini's artistic legacy was also carried on by his family. He had three sons who followed in his footsteps as painters: Giovanni Battista Cittadini, Carlo Cittadini, and Angelo Michele Cittadini. Giovanni Battista, in particular, achieved a degree of success, emulating his father's style, especially in still life. Carlo, who was also a student of Guido Reni, pursued an artistic career, though perhaps with less acclaim than his father or brother Giovanni Battista. The Cittadini workshop, through the efforts of his sons, continued to produce works, particularly flower paintings, for patrons including the ducal courts of Modena and Reggio into the eighteenth century. This familial continuation of an artistic workshop was a common feature of the era, ensuring the transmission of skills and styles across generations.
Patronage, Personal Circumstances, and the Bolognese Context
Sustaining an artistic career in the seventeenth century often depended on securing reliable patronage. While Cittadini achieved considerable success, there are indications that he faced periods of economic difficulty. Fortunately, he found support from enlightened patrons, such as the Bolognese philanthropist Bartolomeo Guerra, whose assistance enabled him to continue his artistic endeavors. This underscores the crucial role that private patronage played in the lives of artists who were not consistently employed by major courts or religious institutions.
Cittadini operated within the rich artistic milieu of Bologna. The city's artistic prominence had been firmly established by the Carracci family – Ludovico (1555–1619), Agostino (1557–1602), and Annibale (1560–1609) – whose Accademia degli Incamminati revolutionized art education and promoted a style that synthesized naturalism with classical ideals. This legacy was carried forward by their pupils and followers, including Guido Reni, Domenichino (Domenico Zampieri, 1581–1641), and Francesco Albani (1578–1660).
By the time Cittadini was active, Reni was a dominant figure, but the Bolognese school also included other notable talents such as Guercino (Giovanni Francesco Barbieri, 1591–1666), known for his dynamic compositions and dramatic use of light and shadow, and Simone Cantarini ("Il Pesarese," 1612–1648), a gifted pupil of Reni who later developed a more independent, naturalistic style. The presence of talented female artists like Elisabetta Sirani (1638–1665), also a pupil of Reni (or rather, of her father Giovanni Andrea Sirani, himself a Reni pupil), further enriched the city's artistic fabric. Cittadini's career unfolded against this backdrop of high artistic standards and intense competition.
Later Years, Death, and Enduring Legacy
Pier Francesco Cittadini remained active as a painter in Bologna for several decades. His dedication to his craft and his ability to adapt to evolving tastes ensured his continued relevance. He passed away in 1681 at the age of 65 and was buried in the convent of Santa Nuova in Bologna, a testament to his established position within the city.
Initially, genres like still life were sometimes considered "minor" compared to the grand historical or religious narratives favored by academic theorists. However, the appreciation for Cittadini's skill, particularly in still life and portraiture, has grown over time. His works are now found in numerous public and private collections, recognized for their technical brilliance, aesthetic appeal, and historical significance.
His legacy lies in his contribution to the diversity of Bolognese painting in the mid-seventeenth century. He successfully navigated the demands for various types of art, from devotional images to decorative still lifes and personal portraits. His ability to blend influences from Milan, Bologna, and Rome resulted in a distinctive artistic voice. While perhaps not as revolutionary as some of his contemporaries, Pier Francesco Cittadini "Il Milanese" was a highly accomplished and versatile artist whose work enriches our understanding of Italian Baroque painting. His dedication to capturing the beauty of the everyday, the dignity of the individual, and the drama of the sacred ensures his enduring place in the annals of art history.
