Malvasia’s biographies are one of the definitive accounts of artists from the region of Emilia-Romagna and the city of Bologna in Italy. Like his Roman born-Bolognese compatriot Bellori, Malvasia sets out to establish Bolognese artists as preeminent within the contemporary world of art.
The great difference between the regionalism of these two biographers lies in the way they embody campanilismo. In Bellori’s Live’s the emphasis is on Bolognese artists who had come to prominence within the city of Rome - giving them a cultural preeminance by association with the ancient capital. Malvasia, on the other hand, extols those Bolognese artists who predominantly
gained their fame within the region and city of Bologna itself.
gained their fame within the region and city of Bologna itself.
Malvasia is also far less cautious about indulging in intrigue and anecdotal stories – something Bellori had partly whitewashed to promote his didactically grand narrative of the arts. As a result Malvasia’s Lives are highly engaging to read. For example, the gambling addiction that drove the celebrated Bolognese painter Guido Reni towards financial bankruptcy, or his phobia of sorcery and witchcraft, make for compelling reading. Malvasia also does not shy away from describing the intense artistic rivalry, politics and cat-fighting that existed between artists on a professional level.
The complete text of the Felsine Pittrice has not been published into Italian or English since the Eighteenth Century. A pdf link to the introduction of the first volume, of what will ultimately be a full English translation can be found here
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| Guido Reni, St Mathew the Evangelist |
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