Menu Shopping cart
Your basket is empty.
Support us


Permanent Collection

Giuseppe Diamantini - 1600–1700

(Fossombrone, 1621–1705)

The painter and graphic artist was born and died in Fossombrone in the province of Pesaro
and Urbino in the Marche region. He first moved to Bologna and came under the
influence of the Carracci school. The main influence on his prints was Simone
Cantarini. Diamantini then went to Venice, where he sojourned until 1698. There
he worked under the influence of the Venetian painter Pietro Liberi and painted
for the Venetian nobility from Venice and its environs. He spent the last seven
years of his life in his native Fossombrone.

Lit.: Ugo Ruggeri, Pietro e Marco Liberi. Pittori nella
Venezia del Seicento, Rimini 1996, pp. 63–64; Nicosetta Roio, Diamantini,
Giuseppe, La Pittura nel Veneto. Il Seicento, II (ed. Mauro Lucco), Milano
2001, p. 821 (with cited bibliography).

From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.