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SACCHI, Andrea Oil Painting Reproductions
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SACCHI, Andrea The Three Magdalenes DFY oil


SACCHI, Andrea
The Three Magdalenes DFY
Painting ID::  9031
new1/SACCHI, Andrea1.jpg 		The Three Magdalenes DFY
1634 Oil on canvas, 68 x 50,5 cm Galleria Nazionale d'Arte Antica, Rome
   
   
     
SACCHI, Andrea St Francis Marrying Poverty d oil


SACCHI, Andrea
St Francis Marrying Poverty d
Painting ID::  9032
new1/SACCHI, Andrea2.jpg 		St Francis Marrying Poverty d
1633 Oil on canvas 292 x 201 cm Galleria Nazionale d'Arte Antica, Rome
   
   
     
SACCHI, Andrea Hagar and Ismail in the Desert ug oil


SACCHI, Andrea
Hagar and Ismail in the Desert ug
Painting ID::  9033
new1/SACCHI, Andrea3.jpg 		Hagar and Ismail in the Desert ug
c. 1630 Oil on canvas, 96 x 92 cm National Gallery of Wales, Cardiff
   
   
     
SACCHI, Andrea Portrait of Monsignor Clemente Merlini sf oil


SACCHI, Andrea
Portrait of Monsignor Clemente Merlini sf
Painting ID::  9034
new1/SACCHI, Andrea4.jpg 		Portrait of Monsignor Clemente Merlini sf
c. 1630 Oil on canvas Galleria Borghese, Rome
   
   
     
SACCHI, Andrea Marcantonio Pasquilini Crowned by Apollo sg oil


SACCHI, Andrea
Marcantonio Pasquilini Crowned by Apollo sg
Painting ID::  9036
new1/SACCHI, Andrea5.jpg 		Marcantonio Pasquilini Crowned by Apollo sg
Oil on canvas Metropolitan Museum of Art, New York
   
   
     
SACCHI, Andrea The Vision of St Romuald af oil


SACCHI, Andrea
The Vision of St Romuald af
Painting ID::  9037
new1/SACCHI, Andrea6.jpg 		The Vision of St Romuald af
c. 1631 Oil on canvas, 310 x 175 cm Pinacoteca, Vatican
   
   
     
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     SACCHI, Andrea
     Italian painter, Roman school (b. 1599, Nettuno, d. 1661, Roma).Italian painter and designer. He occupied an important position, midway between Annibale Carracci and Carlo Maratti, in the development of a more restrained, less decorative painting in 17th-century Rome, a trend that culminated in the 18th century with Pompeo Batoni. Sacchi trained with Francesco Albani, Carracci's student, and taught Maratti. His often expressed devotion to the art of Raphael and Carracci and his criticism of the views of Pietro da Cortona and Gianlorenzo Bernini made him, with Nicolas Poussin and Alessandro Algardi, one of the most significant representatives of a stylistic and aesthetic opposition to the more flamboyant, extrovert aspects of the High Baroque. Sacchi did not, however, share Poussin's passionate interest in Classical antiquity, nor was his mature work as cerebral. Yet his mature style, less richly coloured than his early manner and more restrained emotionally,

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