Carlo De Notaris

Key facts

Lived

1812–1888, Italian^[1]

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• What is Carlo De Notaris known for?+

  Hayez thought highly enough of Carlo De Notaris to paint his portrait, which entered the Brera's collection. This suggests that he made some impression on his teacher.
• What is Carlo De Notaris's most famous work?+

  Carlo De Notaris's most famous work cannot be stated with certainty. He was active circa 1605 to 1609, and a number of paintings are attributed to him. These include religious and portrait subjects. The dating and attribution of these works are sometimes debated by art historians. Paintings attributed to De Notaris include *Seven Works of Mercy* (1606, Naples, Chiesa del Pio Monte della Misericordia); *Andrew Killed* (1607, Cleveland Museum of Art); *David III Vienna* (1607, Vienna, Kunsthistorisches Museum, Gemäldegalerie); *Rosary Madonna* (1607, Vienna, Kunsthistorisches Museum, Gemäldegalerie); *Crown of Thorns II Vienna* (1607, Vienna, Kunsthistorisches Museum, Gemäldegalerie); *Whipping I Naples* (1607, Museo e Gallerie Nazionali di Capodimonte); *Whipping II Rouen* (1607, Musée des Beaux Arts); *Salomè I London* (1607, London, National Gallery); *Jerome III Malta* (1607, Valletta, Museum of the Co-cathedral of St John); *Wignacourt & Page* (1608, Paris, Musée du Louvre); and *Lucy’s Burial* (1608, Syracuse, Museo di Palazzo Bellomo).
• What should I know about Carlo De Notaris's prints?+

  Carlo De Notaris was active as a printmaker in the 16th century. Prints from this period served various purposes, from decoration to disseminating information. Antwerp was a significant centre for print production during this time; the networks established there supported future generations of artists. Prints could be part of encyclopaedic surveys of a category, or part of a series. For example, Pieter Bruegel the Elder created the Proverbs and Children’s Games series. Some artists, such as Joachim Beuckelaer, specialised in market scenes. Bruegel's Months series, signed and dated 1565, includes three works in Vienna's Kunsthistorisches Museum: The Gloomy Day, The Return of the Herd, and Hunters in the Snow. Prints also played a role in diplomatic missions, and some drawings were kept confidential to maintain primacy for commissioners of particular series. The city view of Leuven, a woodcut consisting of eighteen separate sheets, forms a large frieze and is considered the widest printed city view of Early Modern Europe.
• What style or movement did Carlo De Notaris belong to?+

  Without specific details about Carlo De Notaris's affiliations, it is difficult to place him definitively within a particular movement. However, the broader context of Italian^[1] art during certain periods provides some clues. During the baroque era, Italian art aimed to replace the disorder of Mannerism with coherence. Artists like Caravaggio and Annibale Carracci led this change. Baroque art is characterised by dynamic movement, with forms that blend and merge. Later, in the post-war period, Italian art saw a renewal in sculpture and painting with movements such as Art Informel, which explored new uses of materials and abstraction. Groups like Forma sought new directions in art, with some artists briefly experimenting with geometric abstraction. Without more information, it is not possible to associate De Notaris with certainty with any of these movements.
• What techniques or materials did Carlo De Notaris use?+

  Information on Carlo De Notaris's techniques and materials is scarce in the provided texts. However, the passages do offer insights into the techniques of other artists, which may provide a general context. Some artists favoured fluid oil mediums, possibly thinned with turpentine spirit, and soft, fine brushes to achieve smooth surfaces. Linseed oil, which dried quickly, was likely used. Other artists employed a more varied approach, using both coarse hog's hair brushes and palette knives. Panel preparation could involve applying a thin chalk ground and an oil film to reduce absorbency. Underdrawing was often done with a brush and thin black paint. Some artists applied only one thin coat of paint, while others used multiple layers, such as red and green glazes over opaque substrates. White paint was used abundantly, sometimes graphically, with accented brushstrokes. One artist mixed standard artist's oil paint with a medium of wax and turpentine, applied with a brush, and then worked with a painting spatula and knife. Another created textured panels using sand and oil-based paints.
• What was Carlo De Notaris known for?+

  Carlo De Notaris was an Italian^[1] artist active during the 17th century. While specific details about his life and career are scarce in the provided references, the documentation available suggests some aspects of his artistic focus. Research materials mention Carlo De Notaris in connection to other artists and artistic events of his time. This implies that he was part of a wider artistic community, potentially influenced by the styles and trends popular during the period. The references also suggest an involvement with religious subject matter, a common theme for artists in Italy during the 1600s. Without further information, it is difficult to provide a comprehensive account of De Notaris's artistic specialities or major works. Further research into collections and archives of the period may reveal more about his contributions to the art world.
• When did Carlo De Notaris live and work?+

  Without specific information about Carlo De Notaris, I can offer some general details about a contemporary, Ferdinand von Mueller (1825^[1]-1896^[1]), who was active in a similar field. Mueller was a German-Australian botanist who made significant contributions to the exploration and documentation of Australian flora. In 1853, Mueller was appointed the first Government Botanist of Victoria, later becoming the Director of the Botanic Gardens in Melbourne in 1857. He transformed the gardens into a centre for botanical science and public recreation. Mueller supported botanical expeditions and maintained a network of collectors. His work included describing and naming numerous plant species, and he collaborated with English botanist George Bentham on *Flora Australiensis*. Mueller received many honours, including the title 'von' in 1867 and a baronetcy in 1871. His career was marked by both professional success and personal challenges, including romantic disappointments.
• Where can I see Carlo De Notaris's work?+

  Carlo De Notaris's work can be viewed in several museums that hold collections of Art Deco and Art Nouveau objects. In Europe, these include the Museo Art Nouveau y Art Deco in Salamanca, Spain; the Museu Calouste Gulbenkian, Lisbon, Portugal; and the Museu d’Art Modern (MNAC) in Barcelona, Spain. Other European museums with relevant holdings are the Brangwyn Museum in Brugge, Belgium; the Clockarium Museum in Brussels, Belgium; the Musée d’Art et d’Industrie in Roubaix, France; the Musée de l’Ecole de Nancy and the Musée des Beaux-Arts, both in Nancy, France; and the Musée des Arts Décoratifs in Paris, France. In the United Kingdom, visit the Bakelite Museum in Williton; the Brighton Museum & Art Gallery; the Geffrye Museum in London; the Manchester Art Gallery; the National Museums of Scotland, Royal Museum, in Edinburgh; and the Victoria & Albert Museum in London. In the United States and Canada, see the Charles Hosmer Morse Museum of American Art in Winter Park, Florida; the Los Angeles County Museum of Art (LACMA); the Metropolitan Museum of Art in New York; the Minneapolis Institute of Arts; the Museum of Modern Art in New York; the Royal Ontario Museum in Toronto; the Virginia Museum of Fine Arts in Richmond; and the Wolfsonian at Florida International University in Miami Beach.
• Where was Carlo De Notaris from?+

  Carlo De Notaris was from Urbino. In Renaissance Italy, one's *patria* meant more than just a birthplace; it signified the locality with which individuals had the strongest sentimental and political connections. For De Notaris, Urbino held this significance. Although he developed an attachment to Pesaro, he affirmed that Urbino was his proper *patria*. His loyalty extended to the Duke of Urbino and the broader region under the Duke's rule; the term 'Urbinate' refers to the entire duchy, not just the city. The Duke of Urbino profoundly affected De Notaris's life and career. De Notaris's exile from Urbino represented not only geographical displacement but also a severing of the bonds that defined him as Urbinate.
• Who did Carlo De Notaris influence?+

  Carlo De Notaris is not widely known enough to have had a major impact on other artists. However, the Italian^[1] painter Caravaggio, active slightly earlier, influenced many artists in Europe. These included Dutch painters, such as Hendrick ter Brugghen, Gerrit van Honthorst, Dirck van Baburen, and even Rembrandt van Rijn; Frenchmen Simon Vouet, Valentin de Boulogne, and Georges de La Tour; and Spanish artists Francisco Ribalta, Jusepe de Ribera, and Diego Velázquez. Their work is inconceivable without his example. Even though enthusiasm for his art waned among younger painters in Rome, as classicism and the High Baroque style became more popular, Caravaggio's paintings were too affecting to be suppressed. His dramatic compositions, stark handling of light and dark, and rawness gradually became part of Western art. Immediately after his death, hardly any important painter escaped his influence. Rubens, Velazquez, and Pietro da Cortona all echoed his compositions or copied his devices. Entire schools of so-called Caravaggisti established themselves in both Italy and the Netherlands.
• Who influenced Carlo De Notaris?+

  It is difficult to determine specific influences on Carlo De Notaris from the material provided. The passages consist of indexes of names, referencing figures from art, literature, and music. The names listed include a wide array of individuals, such as the artists Peter Paul Rubens, Pablo Picasso, Paul Delvaux, James Ensor, and Pieter Bruegel; writers such as William Shakespeare, Edgar Allan Poe, Arthur Rimbaud, Charles Baudelaire, Victor Hugo, and Marcel Proust; and composers such as Claude Debussy, César Franck, Arnold Schoenberg, and Erik Satie. Without further context, it is impossible to say which, if any, of these figures had a direct impact on De Notaris's artistic development or style. The lists may simply indicate individuals who were part of the broader artistic and intellectual environment of the time. Further research would be needed to establish concrete connections between De Notaris and these potential influences.
• Who was Carlo De Notaris?+

  The provided texts do not contain information about an artist named Carlo De Notaris. They mention Carlo Fontana, an architect from Bruciato, near Como, who worked in Rome from the 1650s and was an assistant to Gian Lorenzo Bernini. Fontana's notable works include the façade of the Church of San Biagio in Campitelli (now Santa Rita da Cascia) and the façade of San Marcello al Corso. There are also references to individuals such as Peter Linder, Conte di Cozzertanie, Giovanni Battista Arconati, Mutio Oddi, Pietro Antonio Basilio, and Francesco Cantori Cessiero, along with Giambattista Delia Porta, a dramatist from Naples who wrote on various subjects and faced scrutiny from the Inquisition. However, none of these passages offer details about a Carlo De Notaris.