12 Works, Today, March 25th. is artist Cherubino Cornienti's day, his story, illustrated with footnotes #83

 

Attributed to Cherubino Cornienti

Ritrovamento di Mosè/ Finding of Moses

Oil on canvas

176x233 cm 

Private collection

Cherubino Cornienti (March 25, 1816 – May 12, 1860) was an Italian painter, active in a Romantic style mainly in Northern Italy.

When he was early 12 years of age, he was admitted to the Brera Academy. In 1835, he participated in the annual exhibition at the Academy, and the next year, along with Domenico Induno, he won a prestigious award. He began a studio, alongside Induno, Giuseppe Mongeri, and Mauro Conconi.

Cherubino Cornienti

Archimedes burns the Roman ships of the Consul Marcellus with the fire from the mirrors

I have no further description, at this time

Hieronymos, the successor to Hieron II, rejected the treaty with Rome and instead allied with Carthage during the Second Punic War of 218–202 BC. time. Hieronymos was soon assassinated, but the Carthaginian party remained in power in the city. Syracuse was now led by Hippocrates and Epicydes, who both gained supreme power as warlords. Rome besieged Syracuse under the leadership of Consul Marcellus since 214 BC. The Romans fortified around the city and ruled the sea with their ships. It is said, however, that the Syracids, with the help of Archimedes , succeeded in setting the ships on fire with large mirrors as the Navy tried to attack the city itself. Second Punic War

Cornienti, Cherubino (1816-1860)

Gian Giacomo Trivulzio before Louis XII, ca. 1856 - ca. 1858

Oil on canvas

55 x 41.5

Civic Museums of Pavia

In 1499, Gian Giacomo Trivulzio commanded the troops of Charles's successor Louis XII of France when they set off to conquer Milan. Alessandria and Milan surrendered without a fight. However, in February 1500 Ludovico Moro returned to Milan with a mercenary army to the cheers of the population. The decisive military confrontation between the two armies took place at Novara in April of that year, when the French army led by Trivulzio was ready to attack Ludovico Moro's troops. However, as both armies consisted largely of Swiss mercenaries who did not wish to fight each other, Il Moro's Swiss soldiers moved back into the city. Trivulzio offered them free passage, except for their commander Ludovico Sforza, il Moro, who was hiding among them. He was discovered by the "Treason of Novara" and came into French captivity for the rest of his life. More on Ludovico Sforza

This painting linked to a previous work entitled "Gian Giacomo Trivulzio before Louis XII, king of France, rebuts the accusations of the Count of Lignì", now preserved at the Brera Academy in Milan (See below).

Cornienti, Cherubino (1816-1860)

Gian Giacomo Trivulzio before Louis XII, king of France, ca. 1856 - ca. 1858

 277 cm x 168 cm

Oil on canvas

Civic Museums of Pavia

This painting was created for the Great Painting Competition of 1843. Cornienti, not adhering perfectly to the description provided by the commission, rather than pursuing the environmental and antiquarian definition, seems to have wanted to recreate an emotional atmosphere, obtained through a 'passionate physiognomic investigation of the characters and with an extraordinary lighting, played on the effects of the backlight that recall the style of Brujllov. There is a subsequent smaller replica of the canvas, kept at the Civic Pinacoteca Malaspina in Pavia.

Cornienti, Cherubino (1816-1860)

The last farewell of Paolo Erizzo to his daughter at the moment in which he is taken to torture, c. 1842

Oil on canvas

49 x 37.5

 Civic Museums of Pavia

Cornienti, Cherubino (1816-1860)

Detail; The last farewell of Paolo Erizzo to his daughter at the moment in which he is taken to torture, c. 1842

Oil on canvas

49 x 37.5

 Civic Museums of Pavia

This a reparatory sketch of the canvas that he had presented in 1842 at the painting competition at the Venice academy and then re-proposed for the Braidense Exposition in Milan.

Paolo Erizzo fought at Siege of Negroponte between the Ottoman Empire and the garrison of the Venetian colony of Negroponte  in Central Greece. It lasted for almost a month, and ended in the capture of the city and the island of Euboea by the Ottomans.

Because the city had refused to surrender and was taken "by the sword", as was customary, the conquering Ottoman troops were given three days to plunder, loot, and pillage. T he garrison commander, bailo Paolo Erizzo, was sawn in half. More on this painting

Cornienti, Cherubino (1816-1860)

The refugees of Parga, ca. 1843

Oil on canvas

66.5 x 50.5

Civic Museums of Pavia

In 1815, with the fortunes of the French failing, the citizens of Parga revolted against French rule and sought the protection of the British. In 1819, the British sold the city to Ali Pasha of Ioannina (the subject of this painting), and it later passed to full Ottoman rule. This decision was highly unpopular among the population of Parga, a predominantly Greek inhabited and extremely pro-Venetian settlement. More on The refugees of Parga

In 1838 he painted the portrait of the patron Felice Borroni [it] of Solcio di Lesa. In 1839, he painted the Bishop of Lodi, Count Gaetano Benaglia [it]. In 1842, he painted the Paolo Erizzo bids Farewell to his Daughters (See above). In 1843, the Brera Academy awarded him a three-year stipend to paint in Rome. There he gravitated to the colony of Italian and foreign artists allied to the Accademia di San Luca, including Karl Bryullov. He attended courses in the French Academy in Villa Medici. In 1850, he was commissioned a fresco on Christ at Emmaus for the Convent of the Cappuccini of Tivoli. In 1853, his painting of Child Moses steps on the Crown of the Pharoah was sent for exhibition in Milan but the judges including Francesco Hayez, severely criticized the work.

Attributed to Cherubino Cornienti

Ritrovamento di Mosè/ Finding of Moses

Oil on canvas

176x233 cm 

Private collection

Finding of Moses. The book of Exodus (2:5) recounts how a Hebrew woman saved her infant son from Pharoah's massacre of Hebrew children by placing him in a basket on the Nile. Pharoah's daughter, while bathing on the banks of the river, found the child, adopted him, and named him Moses. More on Finding of Moses

Cornienti, Cherubino (1816-1860)

David and Bathsheba, c. 1849

Oil on canvas

32 x 27

Civic Museums of Pavia

David and Bathsheba. The story is told that David, while walking on the roof of his palace, saw Bathsheba, who was then the wife of Uriah, having a bath. He immediately desired her and later made her pregnant. In an effort to conceal his sin, and save Bathsheba from punishment for adultery, David summoned her husband, Uriah, and gave the order that Uriah should be placed in the front lines of the battle, where it was the most dangerous, and left to the hands of the enemy. After Uriah was dead, David made the now widowed Bathsheba his wife.

David's action was displeasing to the Lord, who accordingly sent Nathan the prophet to reprove the king. The king at once confessed his sin and expressed sincere repentance. Bathsheba's child by David was struck with a severe illness and died a few days after birth, which the king accepted as his punishment.

In David's old age, Bathsheba secured the succession to the throne of her son Solomon, according to David's earlier promise, instead of David's eldest surviving son Adonijah. More on David and Bathsheba

Cornienti, Cherubino (1816-1860)

Madonna with San Carlo, Sant 'Alessandro and San Paolo, c. 1848/12/18

Oil on canvas paper

41.7 x 61.5

Civic Museums of Pavia

This is  the sketch of the altarpiece that was commissioned in 1848 from Cornienti for the Milanese church of Sant'Alessandro. The work was completed by the painter in 1850. 

Attributed to Cherubino Cornienti

Mamma con bambino/ Slaughter of the innocence

Oil on cardboard

48x36 cm 

Private collection

The Massacre of the Innocents is the incident in the nativity narrative of the Gospel of Matthew in which Herod the Great, king of Judea, orders the execution of all male children two years old and under in the vicinity of Bethlehem. The Catholic Church regards them as the first Christian martyrs. A majority of Herod biographers, and "probably a majority of biblical scholars," hold the event to be myth, legend or folklore. The Massacre of the Innocents

He works in Garlate and Crema. In 1854, his work was interrupted by the demise of his model and companion Lalla, who had accompanied him from Rome to Milan. He visited Venice and Trieste. Back in Milan, he paints the portrait of Renato Borromeo. In 1856 two altarpieces for the church in Malgrate. In 1857, he proposed painting frescoes for the Duomo of Vigevano, but the commission is assigned to Francesco Gonin.

Cherubino Cornienti

Leonardo Showing To Ludovico il Moro The Locks Of Naviglio Canal

I have no further description, at this time

The sophisticated system of canals (“Navigli”) of Milano, were designed by Leonardo da Vinci. Ludovico il Moro asked him to find a way to connect the city with the Lake of Como. Leonardo, designed a system of locks to overcome the problem of the land’s unevenness making the navigation possible. The sketches of the project are now kept at he Navigli Museum. More on Navigli

Cherubino Cornienti

Lodovico il Moro in visita a Leonardo da Vinci

Oil on canvas

158 x 225 cm 

Private collection

Cherubino Cornienti

Ludovico il Moro visits Leonardo Da Vinci painting the Cenacolo, c. 1840

Oil on canvas

226,00 x 160,00 cm 

Private collection

Back in Rome, he continued to paint historical subjects, including events in the life of Leonardo, Michelangelo, Ludovico il Moro (See above), and Galeazzo Sforza. Finally in 1860, the Academy of Fine Arts of Bologna nominated him Professor of Painting with a stipend of 3500 Lire. But within a few months, Cherubino died in Milan at 44 years of age. He was buried alongside his friend Mauro Conconi, who died two days later. More on Cherubino Cornienti

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