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Mattia Preti (24 February 1613 – 3 January 1699) was an Italian Baroque artist who worked in Italy and Malta. He was appointed a Member of the Order of Saint John . Life
Saint Anthony Abbot (Preti) Saint George on Horseback; Saint John the Baptist (Preti) Saint John the Baptist Wearing the Red Tabard of the Order of Saint John; Saint Nicholas (Preti) Saint Sebastian (Preti) San Pietro a Majella Ceiling Paintings
Saint John the Baptist (c. 1653-1656) by Mattia Preti. Saint John the Baptist is a c.1653-1656 oil on canvas painting by Mattia Preti, now in the Museo nazionale di Capodimonte in Naples. [1] It shows the saint in a pose that became typical in Preti's work, using foreshortening, chiaroscuro, and several red colours, especially in the saint's ...
The Martyrdom of Saint Peter is a c.1630-1650 oil on canvas painting by Mattia Preti, now in the Museum of Grenoble, which acquired it in 1828. [1] It had previously passed through the Palais Royal 's collection (which it entered in 1728).
Saint John the Baptist Wearing the Red Tabard of the Order of Saint John is an oil painting on canvas by the Italian painter Mattia Preti, from 1671. The painting has the dimensions of 98 × 78 centimeters. It is in the collection of MUŻA in Valletta, Malta. [1]
The oval painting depicts a half-bust of the eremitic early Christian monk St Anthony Abbot. He is reading a book, and on his shoulder leans his staff with a bell. The elderly man is dressed in a sober dark cloak with hood, setting apart his white beard. The painting has also been described as possibly depicting St Francis of Paola.
Saint Nicholas (c. 1653) by Mattia Preti. Saint Nicholas is a c. 1653 painting by Mattia Preti, the first work he produced after moving to Naples and showing the three gold balls which are a traditional attribute of the saint. [1] It is now in the Museo nazionale di Capodimonte in the same city. [1]
The painting was made on behalf of the nuns of the San Sebastiano, Naples [] in Naples, during Preti first stay at the city. Following criticism and pressure from the artists of the Neapolitan environment, above all Luca Giordano, who considered the representation of the saint devoid of the nobility and beauty that distinguishes him in classical iconography, the work was removed from the ...