Carlo
Dolci

A child, sent to study at the art school of Jacopo Vignali, has shown remarkable talent in painting. By the early 1640-ies under the influence of the "light-dark" style of the artist Guido Reni, gives his paintings a more intense, colorful expression. Ten years later, in 1650-ies, more attention viriovka figures in the background of the paintings. During these years, and later develops the tradition of craftsmanship of the classics of early Renaissance Filippo Lippi and Pietro Perugino. At the end of life Dolci makes images of their characters on the paintings is more fixed and heavy, in order to emphasize their religion.

The first works Dolci - naturalistic portraits were executed about 1632. Then, under the influence of his teacher, Jacopo Vignali ("fra, Adolfo dei Bardi", Florence, Palazzo Pitti), he dedicates himself to religious painting. In these pathetic he seemed torn between naturalistic unclear intentions and memories of the "beautiful ideal" Tuscan Cinquecento. Many copies and repetitions of his paintings indicate that Dolci was very popular in that era. Especially appreciated his work, full of light and conventional piety ("SV. Andrew", 1646, Florence, Palazzo Pitti). Around 1650 Dolci starts to work in the new manner, refined and shiny, reflecting the Flemish and Dutch art, which was cultivated in Tuscany, thanks to the work of artists such as Jan van Mieris. Dolci continues, with rare exceptions, depict sacred stories, and sometimes falls into ecstasy; he was especially attentive to details - furniture, drapery, texture of things, achieving a beautiful scenic effects, reinforced subtle flavor ("SV. Cecilia", St. Petersburg, State. The Hermitage; "Salome", Glasgow Art Gal.; Dresden Art Gal.; "The vision of St. Louis", Florence, Palazzo Pitti). Although often he was forced to yield to the tastes of his customers, among whom was the great Duke Cosimo III and which provided him a large income, he was able to maintain their originality until 1675. By this time his severe character became even more gloomy and melancholic, the artist kept to himself and almost wrote nothing. Radiant and full of life paintings of the Neapolitan Luca Giordano, in 1682 arrived in Florence, Dolci shook and failed him to death.