学生作品ガイド
著作権 この作品はパブリックドメインです。Domenico Piolaは1703に没し、著作権は没後70年まで保護されるため、1773に終了しました。
文脈において
Daedalus and Icarus — Domenico Piola
原寸は 136 × 111 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 76。
作家が 43 歳の時に制作。 そのアーティストは76まで生きました。 0 of the 6 dated works by this artist in our catalogue came earlier.
背景色：Domenico Piolaの生涯 (1627–1703) ▲ 本作品、1670 年代ごとに並ぶ、すべての制作年入り作品
上記の作品から一つ選んでください。その作品と共通する点を2つ、異なる点を1つ挙げてください。
こちらの作品とあわせてご覧いただける他の作品：originaluniqueart.com/ja/art/similar/domenico-piola-daedalus-and-icarus-8Y3FDV-en/
画像から抽出したカラーパレット
メインカラー
Clay #ac7562
保存済みパレット
アーティストのパレット全体を構成するこれらの色彩 色から他の絵画を探す
主要な10カ国
地図上で最も色が濃い3つの国を見つけてください。この絵画を収蔵している美術館は、そのいずれかの国にありますか？遠く離れた場所にいる人々が、この作品に目を向ける理由を一つ書き出してください。
これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 99.9% を占めています。カタログにはこのアーティストによる 15 点の作品が収められており、そのうち 8 点は少なくとも一度は閲覧されました。 This painting ranks 4 of them, with 14.3% of that attention (200 visits). 月ごとの集計結果は同一です
バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください：絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。
アーティストと美術館
生誕地 Genoa, Italy
In the golden age of the seventeenth century, few names resonated through the grand halls and sacred sanctuaries of Genoa as powerfully as Domenico Piola. A titan of the Baroque period, Piola was not merely a painter but the beating heart of a vast, creative ecosystem known as Casa Piola. Born in Genoa in 1627, his life was inextricably linked to the flourishing maritime republic, where his brushwork helped define the very visual language of the era. His journey began under the tutelage of his brother-in-law, Stefano Camogli, and continued through the guidance of Pellegrino Piola, eventually leading him to study under Giovanni Domenico Cappellino. This rigorous foundation allowed him to emerge as a versatile virtuoso, capable of navigating the complexities of draughtsmanship, printmaking, and design with unparalleled grace.
The essence of Piola’s artistry lies in his ability to transform architectural spaces into celestial realms. As the leading figure of the Genoese school in the latter half of the 17th century, he specialized in the breathtaking medium of ceiling frescoes. These works were not merely decorations but immersive experiences designed to draw the viewer's gaze upward toward the divine. Working alongside contemporaries like Gregorio De’ Ferrari, Piola executed monumental cycles for prestigious locations such as the Palazzo Rosso. In these grand commissions, his ability to balance the heavy drama of the Baroque with a certain lyrical lightness—inspired by the works of Giovanni Benedetto Castiglione—created a sense of movement and light that seemed to dissolve the very boundaries of stone and plaster.
What truly distinguished Domenico Piola from his peers was the sheer scale of his influence, facilitated by the prolific nature of his family studio. Casa Piola functioned as a highly organized workshop that streamlined the production of complex decorative schemes, ensuring that the aesthetic of Genoa remained cohesive and magnificent for nearly a century. This collaborative spirit allowed the studio to extend its reach far beyond the canvas, providing essential designs for sculptors and master craftsmen working in wood, ceramics, and metalwork. Through this multidisciplinary approach, Piola’s vision permeated every facet of Genoese aristocratic life, from the intimate details of private collections to the public grandeur of church interiors.
His travels further expanded his artistic horizons, as he carried the Genoese style to cities such as Milan, Piacenza, and Bologna. In Piacenza, his work in the Casa Baldini showcased his ability to adapt his dynamic compositions to different architectural contexts. Throughout his career, Piola remained a master of the interplay between light and shadow, utilizing a palette that could evoke both the somber gravity of religious devotion and the exuberant joy of seasonal celebrations. His historical significance is cemented not only by his individual masterpieces but by his role as the architect of a stylistic era, leaving behind a legacy where art, architecture, and craftsmanship were woven into a single, magnificent tapestry of Baroque splendor.
展示場所： Genova, Italy
Nestled in the heart of Padua, Italy, the Villa Croce Museum of Contemporary Art stands as a quietly compelling testament to the evolution of modern art and design. More than just a repository of paintings and sculptures, it’s an experience—a journey through the shifting aesthetic landscape of the 20th century, housed within a building that itself embodies a fascinating story of adaptation and preservation. The museum's unassuming exterior belies the richness contained within its walls, offering visitors a rare opportunity to delve into the world of Italian avant-garde movements with an intimate and remarkably personal touch.
The villa’s origins trace back to the late 19th century, commissioned by the wealthy Croce family. Initially designed as a grand residence reflecting the opulent tastes of the era, it underwent a dramatic transformation in the early 20th century when the family, particularly Count Giovanni Croce, embraced the burgeoning ideals of modernism. This pivotal decision led to a systematic dismantling of the original structure and a subsequent rebuilding process spearheaded by architect Ernesto Cerri. Cerri’s genius lay not just in replicating the façade – a remarkably accurate recreation of the original neo-classical design – but in creating a completely new interior space, meticulously planned to accommodate a collection of paintings and sculptures that reflected his patrons' progressive sensibilities. This deliberate juxtaposition of old and new is at the very core of the museum’s appeal; it’s a dialogue between tradition and innovation, a tangible representation of a family’s evolving worldview.
The Villa Croce’s collection isn't defined by monumental scale or universally recognized masterpieces. Instead, its strength resides in the carefully curated selection assembled over decades by the Croce family, particularly Count Giovanni and his wife, Countess Maria. Their taste leaned heavily towards Italian artists who were pushing boundaries during the early 20th century – a period marked by intense experimentation and a rejection of academic conventions. You’ll find significant works by Giorgio Morandi, whose subtle still lifes offer moments of quiet contemplation; Gino Severini, a pioneer of Cubism in Italy, represented through his dynamic portraits and cityscapes; and Carlo Carrà, whose expressive brushwork and exploration of primitive forms are powerfully evident in several pieces within the collection.
Beyond these prominent figures, the museum boasts an impressive array of works by lesser-known but equally significant artists who were active during this period. Notable inclusions include paintings by Umberto Bartolini, known for his evocative depictions of human form; and sculptures by Medardo Rosso, a key figure in the development of early modern sculpture. The collection also features a fascinating selection of decorative arts – ceramics, furniture, and textiles – all reflecting the same commitment to innovative design principles that characterized the overall artistic vision.
The museum’s architecture is as integral to its experience as the art it houses. The meticulous reconstruction of the original façade provides a striking visual contrast to the modern interior, creating an immediate sense of historical layering. Inside, Cerri's design is a masterclass in restrained elegance. The spaces are deliberately spacious and light-filled, allowing the artwork to command attention without being overwhelmed by the architecture itself. The use of neutral colors – primarily creams, beiges, and pale yellows – serves as a sophisticated backdrop for the vibrant hues of the paintings.
Crucially, Cerri’s design incorporated innovative elements for its time, including concealed lighting systems and carefully considered ventilation to protect the artwork from fluctuating temperatures and humidity. The museum's layout is remarkably intuitive, guiding visitors through a chronological exploration of modern art movements, while simultaneously highlighting the unique aesthetic sensibilities of the Croce family. The attention to detail in every aspect of the building’s design speaks volumes about the family’s dedication to preserving not just their collection but also the spirit of innovation that inspired it.
While the permanent collection is undoubtedly the museum's primary draw, the Villa Croce regularly hosts temporary exhibitions that explore specific themes or artists within the broader context of modern art. These events often bring a fresh perspective to familiar works and introduce visitors to lesser-known figures from the Italian avant-garde scene. The museum has also been instrumental in organizing retrospectives dedicated to key artists whose work is prominently featured in its collection, further solidifying its reputation as a center for scholarship and artistic appreciation.
The Villa Croce Museum remains a vital institution for understanding the development of modern art in Italy. Its unique history – born from a family’s embrace of innovation and meticulously preserved through generations – offers a rare glimpse into a pivotal period of artistic experimentation. It's a place where visitors can not only admire exceptional artwork but also connect with the passionate individuals who shaped its creation, making it an essential destination for art lovers seeking a truly enriching experience.
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Daedalus and Icarus — Domenico Piola
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「Daedalus and Icarus」の作者はDomenico Piolaとされています。
Domenico Piola作「Daedalus and Icarus」の真作はPrivate collection, Genova, Italyに所蔵されています。複製画（レプリカ）を用いることで、ご自宅でも作品をお楽しみいただけます。
「Daedalus and Icarus」の著作権の状態について — パブリックドメイン（著作権消滅） — は、作者の没年である1703に基づいています。