CARLO/NICOLA LODI/BERTUZZI - “Landscape with a concert” - “Landscape with a prayer” (Pair)
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CARLO/NICOLA LODI/BERTUZZI
“Landscape with a concert” - “Landscape with a prayer” (Pair)
 
Oil on canvas
134 x 153,5 cm
135 x 155’5 cm.
With original frame
 

Nicola Bertuzzi and Carlo Lodi are two of the most important artists of the 18th century landscape painting in Bologne, Italy.
Nicola Bertuzzi arrived very early from the Marche region to the city of Bologne, to study there with Vittorio María Bigari, although he was also very close to the manners of Marco Antonio Franceschini and Donato Creti. In 1734-5, he won the first prize at the Accademia Clementina, institution that he joined very soon after as a member, and later, as a director. In Bologne and in the Marche region there are many traces of his intense activity as a fresco and easel painter.
L’Anconitano was, above all, a prolific and quick creator of figures, for the perspective and landscape bolognese painters of the period, such as Ferdinando de Bologna, Pietro Scandellari, Gaetano Ottani, Prospero Pesci, Stefano Orlando, Vincenzo Martinelli and Carlo Lodi. In his youth, he painted in tempera The virgin birth for the Seminar of Ancone, and he also made three paintings with the story of Blessed Franco in collaboration with Ferdinando di Bologna. Around 1743 he painted the frescoes for the Old Convent of Santa Lucia together with Scandellari; around 1753, he made The mysteries of the Passion, for the Guilt of Merchants and Artists of Ancone; from 1750 to 57 he worked in a Crucifixion and in the figures of saints and popes at the church of the Virgin of St. Luke; from 1755 to 1760, he was at the Upper Palazzo in Bagnarola, Bologne and, in 1763 he painted, together with Carlo Lodi, the lintels of the Lower Palazzo of the same city. Also in collaboration with Lodi, he painted the temperas at Villa Sampiera, today at the Bologna Savings Bank. Many of his paintings are in Ancone, especially at the Ferretti collection, and most of his drawings are kept at the Bolognese Pinacoteca and at the Accademia Clementina in the same city.














According to a biographical note written by Lodi himself, after his first humanistic education he started to work at the Nunzio Ferraioli’s workshop and stayed there for “a couple of months”. He preferred to finish his education “copying and observing from natural”. Under this statemen there is a contempt for the architectonic and scenic positions carried by the landscape painters of the time, in favor of more pictorial and graceful themes, to which the artist, following the taste of the time, knew how confer a strong fantastic value.
As it happens in the big paintings at the Palazzo Bentivoglio in Bologne (G. Zucchini, Paessaggi e rovine nella pittura Bolognese del Settecento, Bolonia, 1947, figs XXXVIII – XXXIX), also in this case it is remarkable the use of light -a very usual feature in all his works- that surround all elements of ruins following tradition, but upgrading them with an unusual flimsiness. In all his landscape incursions, Bertozzi’s figures are recognizable for the typical “barochetto” verve, that make them clear and stimulating, with a very volatile gesture. These are prerogatives that L’Anconitano developed also in other sectors of his very vast production, included religious. The presence of the painter in Lodi’s canvases became a constant after Antonio Rossi’s death in 1753, who used to be his principal collaborator in the past.
Different sources confirm a wide activity of Carlo Lodi even out of Bologne: in Modena, Parma, Mantoa, Milan, Turin, Florence and Rome, even in Saxony and Russia. But it is in Bologne, at the palaces and villas of the city, where more traces of his skill can be found.
Apart from their enormous quality, this two paintings stand out for its remarkable state of conservation. Both paintings keep their original frame and canvas.

Daniele Benati.
 
Literature:
BENATI, D.- Restauri e scoperte tra Ferrara e Bologna. Skira, 1998.
ZUCCHINI, G.- Paesaggi e rovine nella pittura bolognese del ‘700, Bologna 1947.
ZUCCHINI, G.- Le tempere della Sampiera, Bologna 1953.
BESEGHI, U.- Castelli e ville bolognesi, Bologna 1957.
CUPPINI, G.P. y METTEUCCI, A.M.- Ville del Bolognese, Bologna 1967.
ROLI, R.- Pittura Bolognese 1650-1800, dal Cignani al Gandolfi, Bologna 1977.
ZARDI, E.- Carlo Lodi, paesista bolognese del Settecento, Università di Bologna, 1977.
GRANDI, R..- L’Arte del Settecento Emiliano, catalogo della mostra "Architettura, Scenografia e Pittura di Paesaggio", Bologna 1980.
OTTANI, A y CALBI, E.- La pittura di paesaggio in Italia. Il Settecento, Milano 2005.
VV.AA.- Dizionario enciclopedico dei pittori e degli incisori italiani. Giorgio Mondadori, Eds. Torino, 1990.
 
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