What was the working location for Viviano Codazzi from 1620 to 1634?
Viviano Codazzi Viviano Codazzi ( c . 1604 – 5 November 1670 ) was an Italian architectural painter who was active during the Baroque period . He is known for his architectural paintings , capricci , compositions with ruins , and some vedute . He worked in Naples and Rome . He is known in older sources as Viviano Codagora or il Codagora . Life . Viviano Codazzi was born in Valsassina near Bergamo around 1604 . His family relocated to Rome by 1605 . Viviano most likely trained in Rome . He had moved by 1633 to Naples where he worked on commissions at the Certosa di San Martino resulting from his connections with his fellow Bergamasque Cosimo Fanzago . A major commission in Naples was a series of four large canvases representing ancient Roman scenes ( including one depicting gladiatorial combats in the Colosseum ) for the Buen Retiro in Madrid , with figures by Domenico Gargiulo . Codazzi was a painter of architecture and the figures in his compositions were always painted in by specialist figure painters . In Naples his principal collaborator for the figures was Gargiulo . The artist married on 3 May 1636 Candida Miranda , from Naples . The couple had seven children of whom Niccolò and Antonio became painters . After relocating to Rome following the revolt of Masaniello in 1647 , he collaborated with painters from the circle of mainly Dutch and Flemish painters active in Rome who were known as the Bamboccianti . His most frequent collaborators were Michelangelo Cerquozzi and Jan Miel . He further collaborated with Filippo Lauri , Adriaen van der Cabel and Vicente Giner during the 1660s . Artemisia Gentileschi relied on Viviano Codazzi to paint in the architectural backgrounds in a number of her paintings . An example of such collaboration is the in the Columbus Museum of Art . Codazzi had several close followers , including Ascanio Luciano and Andrea di Michele in Naples , his son Niccolò Codazzi ( 1642–1693 ) , Vicente Giner ( a native of Spain ) , and Domenico Roberti . In Northern Europe , artists such as Wilhelm Schubert van Ehrenberg , Jacobus Ferdinandus Saey , Jacob Balthasar Peeters , Antoon Gheringh and Jan Baptist van der Straeten were also influenced or inspired by his work . Vivianos son , Nicolo ( Naples , 1642 - Genoa , 1693 ) was a painter of architectural paintings and capricci like his father . Another son called Antonio was also a painter but his work is not well known . Despite his intense artistic activity Viviano Codazzi was registered as poor in 1657 . He resided in Rome except for brief absences ( around 1653 and possibly between 1659 and 1666 ) until his death in Rome on 5 November 1670 . Work . Most of Codazzis paintings are medium-sized paintings of architecture , either ruins , ideal architecture , or capricci , in a landscape setting . The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome . Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from committente to acquirente , that is , from painting on commission to painting on the open market . Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble , where walls were completely covered with paintings of various types and sizes . The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter . The roots of this type of vedute can be found in 16th-century painting , and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as quadratura . These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings . A number of artists practiced this genre . Alessandro Salucci was an important contemporary practitioner of the genre whose work was influenced by Viviano Codazzi . Codazzis vedute where generally more realistic than those of Salucci who showed somewhat greater creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions . Codazzi also did not adhere strictly to the dictations of topography and archaeology . His works show a search for architectural arrangements that evoke aesthetic harmony . Codazzi was acclaimed in his time as close to the ancient architect Vitruvius among 17th-century painters of architectural views . This recognition by his contemporaries was indicative of his mastery of linear perspective and understanding of antique taste . Codazzis depiction of St . Peters Basilica dated 1636 is more a veduta , i.e . a topographical view , than a capriccio . It was painted in Naples and shows the old entrance to the Vatican palace , which was destroyed when Berninis Scala Regia and colonnade were constructed , as well as clock towers ( campanili ) based on an engraving of a never-executed design by Martino Ferabosco . One of his best known paintings is a depiction of the in which the figures were painted by Cerquozzi . The work was made in 1648 on a commission by Cardinal Bernardino Spada and is now in the Galleria Spada in Rome . Further reading . - David R . Marshall , Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy , Rome , Jandi Sapi , 1993