Antonio Concioli

In the modern world, Antonio Concioli has become increasingly relevant in contemporary society. Whether due to its impact on culture, technological development, politics or any other field, Antonio Concioli has become a topic of widespread interest and debate today. From its origins to its influence on people's daily lives, Antonio Concioli has been the subject of academic studies, critical analysis and even controversies. In this article, we will explore different aspects related to Antonio Concioli, analyzing its importance and scope in different contexts.

Antonio Concioli (1739 – November 28, 1820) was an Italian painter, mainly depicting sacred subjects in a Neoclassical style.[1]

Madonna and Child with St Carlo Borromeo (Collection in Genoa)

Biography

Born in Pergola, Marche, to a family of professionals and bureaucrats, he was likely a descendant of the jurist, Antonio Concoli of Cantiano (1602–1680).[2] He initially trained in Bologna under Ercole Graziani and Ercole Lelli, but soon traveled to Rome under the patronage of Cardinal Andrea Negroni. He obtained a post as professor in the Academy of Design at the hospice in San Michele a Ripa, and for which he would also become director of the Tapestry works. In Rome, he was also a pupil of Pompeo Batoni. He became a member of the Academy of St Luke in Rome in 1781.[3] He painted an altarpiece for the church of Sant'Antonio dei Portoghesi in Rome.[4] He painted a portrait of Cardinal Giuseppe Maria Doria Pamphilj Landi.[5] He was also active in Rieti.[6] He died in Rome in 1820.

References

  1. ^ Garollo, Gottardo (1907). Ulrico Hoepli (ed.). Dizionario biografico universale. Editore Libraio della Real Casa, Milan. p. 567.
  2. ^ Comune of Cantiano.
  3. ^ Venus and Vulcan at Accademia di San Luca, Rome.
  4. ^ A new Picture of Rome, and its Environs, in the form of an Itinerary by Mariano Vasi, page 245
  5. ^ Portrait of Cardinal Pamphilj at Palazzo Cassi in San Costanzo.
  6. ^ Encyclopedia Treccani Dizionario Biografico degli Italiani, Volume 27 (1982), entry by Vittorio Casale.


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