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Michelangelo Cerquozzi (February 12, 1602 – 6 April 1660) was an Italian Baroque painter. ==Biography== Born and active mainly in Rome, he is best known for painting small canvases depicting genre scenes,〔( Fetching water )〕 and as one of the Italian followers of the ''Bamboccianti'' style practised in Rome by the Dutch painter, Pieter van Laer. He apparently trained with Pietro Paolo Bonzi, called initially ''il Gobbo di Frutti'' for his still life paintings;〔J.R. Hobbes p. 23.〕 however other scholarship places him as living or working in Rome alongside in 1620-1621 with Jacques de Hase originally of Antwerp, and in 1624 with the Dutch painters Paulus Bor originally from Amersfoort and Jan Harmanz originally from Reims, and during 1625-1630 with Willem Michiels. By 1631, he had a studio with Michiels and his pupil Matteo Bonicelli.〔(Le vie degli artisti : residenze e botteghe nella Roma barocca dai registri di Sant'Andrea delle Fratte, 1650-1699 ), by Laura Bartoni, Roma : Edizioni Nuova cultura, (2012), page 412.〕 Cerquozzi joined the Accademia di San Luca in 1634. During the next two decades, many prominent painters, such as Andrea Sacchi in Rome and Francesco Albani and Guido Reni in Bologna, disparaged this "low-class" thematic. In addition, in the competitive art world, Cerquozzi had many rivals for the same patrons, including a young Salvator Rosa. His friends included Domenico Viola, Pietro da Cortona, Giacinto Brandi, and Cornelis Bloemaert. He became known for making battle pictures, and was nicknamed ''Michelangelo delle Battaglie'' 〔( ''Still life with Peaches'' )〕 In 1647, he collaborated with Jan Miel, Giacomo Borgognone, and others on illustrations for second volume of Famiano Strada's ''De Bello Belgico'' celebrating Alessandro Farnese's campaigns in the Netherlands for the Spanish emperor. Cerquozi also received commissions from Cardinal Rapaccioli and Modenese Count Camillo Carandini. He painted a canvas in 1648 on the ''Revolt of Masaniello''.〔 ( ''Revolt of Masaniello'' at Borghese Gallery )〕 After 1647, he collaborated with the Neapolitan Viviano Codazzi. Haskell comments on how the diminutive, doll-like populace of the low-class Bamboccianti scenes would have seemed innocent and disarming to the aristocratic patrons of Cerquozzi and company; while grand manner painting often adhered to life-size figures in large canvases. This, however, would not apply to the mythology-populated landscape scenes of a Claude Lorrain. Cerquozzi himself also painted some canvases on mythologic canvases, for example ''Hercules'' and ''Herminia and the Shepherds'' albeit grounded in a peasant world. The tonalities of his paintings are earthen, and there is an affection for the forested landscape. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Michelangelo Cerquozzi」の詳細全文を読む スポンサード リンク
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