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Here are all the paintings of Sebastiano Conca 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 28682 |
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Alexander the Great in the Temple at Jerusalem |
mk61
1735-1736
Oil on canvas
52x70cm
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| 87605 |
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Alexander the Great in the Temple of Jerusalem |
Oil on canvas, 52 x 70 cm
Date about 1750
cjr |
| 79890 |
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Allegory of Science |
Oil on canvas
78 x 65 cm (30.7 x 25.6 in)
cjr |
| 83824 |
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Allegory of Science |
Oil on canvas
Dimensions 78 x 65 cm (30.7 x 25.6 in)
cyf |
| 30001 |
 |
The Glorification of St.Cecilia |
mk67
Oil on cavnas
39 3/8x19 11/16in
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| Sebastiano Conca
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| Italian Baroque Era Painter , 1680-1764
was an Italian painter. He was born at Gaeta, then part of the Kingdom of Naples, and apprenticed in Naples under Francesco Solimena. In 1706, along with his brother Giovanni, who acted as his assistant, he settled at Rome, where for several years he worked in chalk only, to improve his drawing. He was patronized by the Cardinal Ottoboni, who introduced him to Clement XI, who commissioned a well-received Jeremiah painted for the church of St. John Lateran. Conca was knighted by the pope. He collaborated with Carlo Maratta in the Coronation of Santa Cecilia in the namesake's church of Santa Cecilia in Trastevere (1721-24). He was elected in 1718 to the Accademia di San Luca and its director in 1729-1731 and 1739-1741. His painting was strongly influenced by the Baroque painter Luca Giordano. Among Conca's pupils were Pompeo Battoni, Andrea Casali, Placido Campoli, Corrado Giaquinto, Gaetano Lapis, Salvatore Monosilio, Literio Paladini, Drancesco Preziao, Rosalba Maria Salvioni, Gasparo Serenari, and Agostino Masucci, He received widespread official acclaim and patronage. He worked for a time for the Savoy family in Turin on the Oratory of San Filippo and Santa Teresa, in the Venaria (1721-1725), for Basilica di Superga (1726), and Royal Palace (1733). He painted frescoes of Probatica, or Pool of Siloam, in the Ospedale di Santa Maria della Scala (hospital) of Siena. In Genoa, he painted large allegorical canvases of the Palazzo Lomellini-Doria (1738-1740). In 1739, he published a guide to painting: Ammonimenti (or Admonishments), which blended moralistic advice with technique. He returned to Naples in 1752, and enjoyed the royal patronage of Charles III.
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