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MOLA, Pier Francesco
St Peter Freed from Prison dh
MOLA, Pier Francesco1.jpg
c. 1630
Oil on canvas
Galleria Borghese, Rome
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MOLA, Pier Francesco
Jacob's Meeting with Rachel
new5/MOLA, Pier Francesco_Bj3gMH.jpg
oil on canvas
The Hermitage, St. Petersburg.
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MOLA, Pier Francesco
Herminia and Vafrino Tending the Wounded Tancred
new5/MOLA, Pier Francesco_pyVRCV.jpg
Oil on canvas
Mus??e du Louvre, Paris.
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MOLA, Pier Francesco
Barbary Pirate with a Bow
new5/MOLA, Pier Francesco_5mwpX6.jpg
1650
Oil on canvas
Mus??e du Louvre, Paris.
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MOLA, Pier Francesco
Herminia and Vafrino Tending the Wounded Tancred (mk05)
new6/MOLA, Pier Francesco-923869.jpg
Canvas 27 x 36 1/4''(69 x 93 cm)Acquired for Louis XIV in 1685
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MOLA, Pier Francesco
Barbary Pirate with a Bow (mk05)
new6/MOLA, Pier Francesco-467838.jpg
Canvas,67 1/2 x 48 1/2''(172 x 123 cm)Acquired in 1948
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MOLA, Pier Francesco
Self-portrait
new3/MOLA, Pier Francesco-347765.jpg
mk65
Pastel on paper
13 11/16x9 13/16in
Uffizi,Cabinet of Drawings and Prints
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MOLA, Pier Francesco
Herminie gardant ses troupeaux grave sur un arbre le nom de Tancrede
new4/MOLA, Pier Francesco-425524.jpg
mk70
H.0.69
L.0.92
Paris,Musee du Louvre
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MOLA, Pier Francesco
Self-Portrait
new16/MOLA, Pier Francesco-243929.jpg
mk156
1650-66
Pastel on paper
34.7x24.9cm
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MOLA, Pier Francesco
THe Rest on the Flight into Egypt
new16/MOLA, Pier Francesco-567568.jpg
mk170
1630-1635
Oil on canvas
3.5x45.7cm
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MOLA, Pier Francesco
Virgin Annunciate
new21/MOLA, Pier Francesco-474955.jpg
1608-09 Marble, over life-size Museo dell'Opera del Duomo, Orvieto Mochi first achieved fame with his Angel of Annunciation of 1603-05 for the Orvieto Cathedral, a work whose vigour and directness reflect the artist's earnestness in reformulating a conventional theme. Three years lie between the Angel of Annunciation and the Virgin Annunciate which completed the composition. Here Mochi evoked reminiscences of Rome, in particular the suavity of Mariani and the more active type of Classical statuary, but added his own flair for dramatic gestures by showing the Virgin starting from her chair. Mochi's work has sometimes been explained as a response to Caravaggio, yet it is better understood as part of a general concern with conveying emotions through external expressions, something manifests in the work of Carracci and Reni, as well as that of Caravaggio. Interestingly enough, the forcefulness of Mochi's Virgin Annunciate was not to the liking of the Bishop of Orvieto, who opposed its placement in the cathedral for three years. See also the Angel of Annunciation. Author: MOCHI, Francesco Title: Virgin Annunciate , 1601-1650 , Italian Form: sculpture , religious
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MOLA, Pier Francesco
Italian Baroque Era Painter, 1612-1666
Painter and draughtsman, son of (1) Giovanni Battista Mola. His most characteristic works are small, intensely romantic scenes from mythology, the Bible, and from works by the poet Torquato Tasso, set in landscapes inspired by Venetian art. Yet he also received important public commissions for frescoes and altarpieces, and in his mature work he achieved an impressive synthesis of 17th-century Roman gran maniera painting with the stronger chiaroscuro and richer palette of the 16th-century Venetian style. He was a prolific and versatile draughtsman, who drew for pleasure as well as in preparation for commissions; he was also a witty caricaturist, who mocked himself and his friends as much as more typical targets
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