Symbols of status and power, beds are recorded as valuable piece of furniture in various household inventories during the 17th century. As one walks into the sumptuous period bedroom of Palazzo Sagredo, Venice immediately observes the elaborate leaf like pattern stuccowork on the ceiling; putti (cupids) bearing garlands of flowers joyfully fly about the space ornamenting the ceiling and walls. The compelling fresco work, inner chamber dome, and fluted Corinthian columns draws further attention. On the ceiling, above the bed alcove has a dome with these love-inspired mythical creatures flank the gilded frame of a painting by Gasparo Diziani (mentioned at Met’s gallery information) depicting ‘Dawn triumphant over night’. Seven cupids frolic, where three are seen holding a shield with the monogram of Zaccaria Sagredo. The numerous cupids made of
…show more content…
He demonstrated mastery of illusion where frames were fictitious, for the center the quadratura a reaffirmation profile of the vault appears open to the sky and the figures seem to hover in space. Here the viewers could see the painting as an extension of their own space. In person, it is difficult to analyze the authenticity of details are either real or are imaginative representation of supernatural events and experiences or both. The artist worked his magic and created a space where there were none and beauty where little had existed before. However in the design of apartments for Grand Duke Ferdinand II at Pitti Palace, Florence (1640-7) – Notably the hall of Apollo – Where Cortona turned his painting frames into stucco, where he made airy frescos in the ceilings which were animated with cloudbursts, dramatically foreshortened figures and sweeping brushwork, the frames had three dimensional antidote to the frescos’ illusion in order to keep celestial energy
He demonstrated mastery of illusion where frames were fictitious, for the center the quadratura a reaffirmation profile of the vault appears open to the sky and the figures seem to hover in space. Here the viewers could see the painting as an extension of their own space. In person, it is difficult to analyze the authenticity of details are either real or are imaginative representation of supernatural events and experiences or both. The artist worked his magic and created a space where there were none and beauty where little had existed before. However in the design of apartments for Grand Duke Ferdinand II at Pitti Palace, Florence (1640-7) – Notably the hall of Apollo – Where Cortona turned his painting frames into stucco, where he made airy frescos in the ceilings which were animated with cloudbursts, dramatically foreshortened figures and sweeping brushwork, the frames had three dimensional antidote to the frescos’ illusion in order to keep celestial energy