Federico Barocci and the Oratorians : Corporate Patronage and Style in the Counter-Reformation

In 1586, Federico Barocci delivered his Visitation of the Virgin and St. Elizabeth to the Chiesa Nuova in Rome. For the next quarter century, Barocci dominated the art scene in Rome; there was no other artist from whom it was harder to get work and no other artist charged such high prices. Having two important altarpieces in the Chiesa Nuova and two additional commissions discussed was an impressive feat for an artist living exclusively in Urbino. Why did the Oratorians monopolize Barocci’s talents in Rome and why does it seem that Barocci was their first choice when considering artists to decorate their church? What was it about Barocci’s art that appealed to Oratorian sensibilities and their vision of the artistic program for decoration of their church? This book examines the relationship between Barocci and the Congregation of the Oratory, arguing for a distinct physiognomy of Oratorian patronage and exposing the function the Oratorians expected of religious imagery in contrast to other groups of their time. While explaining Oratorian patronage, it thus deals with a thorny question in social science: how can a collective body have unified intentions and actions? The result is a contribution both to the history of Italian painting and to art historical methodology.

In 1586, Federico Barocci delivered his Visitation of the Virginand St. Elizabeth to the Chiesa Nuova in Rome. For the next quartercentury, Barocci dominated the art scene in Rome; there was noother artist from whom it was harder to get work and no otherartist charged such high prices. Having two important altarpiecesin the Chiesa Nuova and two additional commissions discussed was animpressive feat for an artist living exclusively in Urbino. Why didthe Oratorians monopolize Barocci's talents in Rome and why does itseem that Barocci was their first choice when considering artiststo decorate their church? What was it about Barocci's art thatappealed to Oratorian sensibilities and their vision of theartistic program for decoration of their church?

This book examines the relationship between Barocci and theCongregation of the Oratory, arguing for a distinct physiognomy ofOratorian patronage and exposing the function the Oratoriansexpected of religious imagery in contrast to other groups of theirtime. While explaining Oratorian patronage, it thus deals with athorny question in social science: how can a collective body haveunified intentions and actions? The result is a contribution bothto the history of Italian painting and to art historicalmethodology.

"This book examines the relationship between Barocci and the Congregation of the Oratory, arguing for a distinct physiognomy of Oratorian patronage and exposing the function the Oratorians expected of the religious imagery in contrast to other groups of their time. While explaining Oratorian patronage, it thus deals with a thorny question in social science: how can a collective body have unified intentions and actions? The result is a contribution both to the history of Italian painting and to art historical methodology."--Excerpt taken from back cover