In addition, his relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. A fresh portrait of Guido emerges through a critical examination of his works from this period the specific details of commissions-formal qualities, physical contexts, patronage, documentation, and reception-are carefully reviewed.
Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. Part I examines Reni’s education and artistic training in Bologna. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. This dissertation will investigate the period before his celebrated success. Reni’s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome.
Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de’ Medici, and Urban VIII vying for his works.
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