Antonio Bellucci (Pieve di Soligo, 1654 – Pieve di Soligo, 1726) was an Italian painter and decorator, versed in the Rococo style. Born in 1654 in the Treviso area, of Venetian education, he had his first approach to painting thanks to the teachings of a certain Domenico Difnico, in the city of Sebenico, in the then Venetian region of Dalmatia. Read the full biography
Do you own a work by Antonio Bellucci and want to sell it? Entrust it to our appraisal and auction services.
We have successfully handled 3 artworks by Antonio Bellucci , all sold at prices exceeding their initial estimates.
Request a free valuation
Our specialists are always available to provide free and confidential valuations and appraisals.
Antonio Bellucci (Pieve di Soligo, 1654 – Pieve di Soligo, 1726) was an Italian painter and decorator, versed in the Rococo style. Born in 1654 in the Treviso area, of Venetian education, he had his first approach to painting thanks to the teachings of a certain Domenico Difnico, in the city of Sebenico, in the then Venetian region of Dalmatia. He certainly had a vast early production, even if his first dated and signed painting dates back to 1688. In the seventeenth century the situation of art in Venice was not very happy: reference was made to Tintoretto, attempts were made to recover something of Titian, in a context of late mannerism which had already lost its most significant exponents (Palma the Younger, Padovanino). A triad of non-Venetian painters broke away, at least in part, from the other painters of this era: Domenico Fetti (from Mantua), Bernardo Strozzi (Genoese) and Johann Liss (German), who had introduced a lively and free language, typically Baroque. . Another notable group of artists in Venice were the so-called tenebrosi: Giovan Battista Langetti, Pietro Negri, Johann Carl Loth and some others. Theirs was a sort of reinterpretation of Caravaggism: dramatic force, violent contrasts between light and shadow. Tenebrosi also influenced Bellucci and Sebastiano Ricci in their early activity, above all for the dramatic tension of the figures. However, it remains to be underlined that the Venetian artistic environment, now in the second half of the 17th century, was rather static and weak, especially in comparison with the innovations introduced in Genoa, Rome (Baciccio, Padre Pozzo) and above all in Emilia and Bologna (l Carracci Academy and then Marcantonio Franceschini and Carlo Cignani, already appreciated in Vienna). In fact, it was precisely to the elegant and refined world of the Bolognese academy that the young Venetian artists, including Antonio Bellucci, would have referred.
