Pietro da Cortona  
Pietro da Cortona

Pietro da Cortona. Self-Portrait
Pietro da Cortona, French Pierre de Cortone, original name Pietro Berrettini (born Nov. 1, 1596, Cortona, Tuscany [Italy]—died May 16, 1669, Rome, Papal States), Italian architect, painter, and decorator, an outstanding exponent of Baroque style.

Pietro studied in Rome from about 1612 under the minor Florentine painters Andrea Commodi and Baccio Ciarpi and was influenced by antique sculpture and the work of Raphael. The most important of his earliest paintings were three frescoes (1624–26) in Santa Bibiana, Rome. In the 1620s he designed the Villa del Pigneto near Rome and possibly another villa at Castel Fusano, both for his patrons, the Sacchetti family.

His fame reached its climax in the 1630s with the design of the church of SS. Luca e Martina, Rome (1635–50), and the ceiling fresco Allegory of Divine Providence (1633–39) in the Barberini Palace there. The design of SS. Luca e Martina derives more from Florentine than Roman sources, resulting in a different type of Baroque architecture from that of either Bernini or Borromini. The ceiling of the Great Hall in the Barberini Palace, now the National Gallery, was conceived as a painted glorification of the Barberini pope, Urban VIII, and is treated illusionistically. Its strong colour and steep perspective recall Veronese, whose work Cortona may have seen in Venice in 1637.

Also in 1637 Pietro visited Florence, where he began painting the frescoes representing the Four Ages of Man for Grand Duke Ferdinand II of Tuscany in the Pitti Palace. In 1640 he returned to finish these and paint the ceilings of a suite of apartments in the palace named after the planets. He treated the entire surface as a single spatial unit, adding a wealth of real stucco decoration, partly gilt, in the carvings. He returned to Rome in 1647, where he painted the vault frescoes of Santa Maria in Vallicella and the ceiling of the long gallery of the Pamphili Palace in Piazza Navona (1651–54) for Pope Innocent X. His chief architectural works of this period were the facades of Santa Maria della Pace (1656–57)—perhaps his most ingenious conception—and Santa Maria in Via Lata in Rome (1658–62). He also produced designs for the modernization of the Pitti Palace and the east front of the Louvre in Paris (1664). He painted religious and mythological easel pictures throughout his life. From 1634 to 1638 he was head of the Academy of St. Luke in Rome. Despite a correspondence in feeling between his architecture and his painting, there is little physical connection between them, and he never decorated one of his own churches.

Encyclopædia Britannica

Nativity of the Virgin
Musee du Louvre, Paris

The Guardian Angel
Oil on canvas, 225 x 143 cm
Galleria Nazionale d'Arte Antica, Rome

Holy Family Resting on the Flight to Egypt
c. 1643
Oil on copper, 48 x 39 cm
Alte Pinakothek, Munich

Oil on canvas
S. Chiara, Cortona

The Rape of the Sabine Women
Oil on canvas, 280,5 x 426 cm
Pinacoteca Capitolina, Rome

Romulus and Remus Given Shelter by Faustulus
c. 1643
Oil on canvas, 251 x 266 cm
Musee du Louvre, Paris

Venus as Huntress Appears to Aeneas
Oil on canvas
Musee du Louvre, Paris


The Stoning of St Stephen
c. 1660
Oil on canvas, 260,5 x 149 cm
The Hermitage, St. Petersburg

The Punishment of Hercules

Marcello Sacchetti
c. 1626
Oil on canvas
Galleria Borghese, Rome


The Triumph of Divine Providence
Palazzo Barberini, Rome


Madonna and Saints
Oil on canvas, 280 x 170 cm
Museo dell'Accademia Etrusca, Cortona

The Alliance of Jacob and Laban
Oil on canvas, 197 x 176 cm
Musée du Louvre, Paris

Virgin and Child with Saints
Oil on canvas, 296 x 205 cm
Pinacoteca di Brera, Milan

The Age of Bronze
Sala della Stufa, Galleria Palatina (Palazzo Pitti), Florence

The Age of Iron
Sala della Stufa, Galleria Palatina (Palazzo Pitti), Florence

The Age of Gold
Sala della Stufa, Galleria Palatina (Palazzo Pitti), Florence