Controversy with Pietro da Cortona

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When I art prints was young, Sacchi calligraphy had worked under the orders of Pietro de Cortona Castel roman ancient Fusano (1627-1629). But in a series of public discussion in the Roman artists museum art guild, Accademia di San Luca, criticized the exuberance of Cortona. In detail, Sacchi advocate treating each figure individually, indicating that a painting should not take print art more than ten figures. In a tight composition, the figures would be deprived of individuality, and lose the meaning of the canvas. In some ways this wall art is a reaction against over-enthusiastic crowd of men in paintings such as the previous generation Zuccari, between Cortona and his contemporaries. The simplicity and unity were essential to Sacchi. Cortona argued that the paintings were more like a great epic, which might use multiple secondary arguments. The completion of the painting with an excess of decorative details, including sets of crowds, it would represent a mural painting more focused narrative. there is no expert better then is the head of the S.A. Among the supporters of the simplicity of Sacchi were Algardi sculptor and painter Poussin.
The dispute however was less heated than it seems, also produced discontent Geneva among Sacchi and Albani, and others who shared the painting artists and gender new york issues. They felt that art should focus on biblical themes, mythological or classical history.
But many other workers under its influence including Luigi Garzia, Francesco Lauri, and Camassei Giacinto Andrea greek ancient Gimignani. Sacchi had an illegitimate son named Giuseppe, contemporary art who died art young after creating many hopes on his art.
Sacchi died in 1661 in Nettuno.
Three Muffins (1634), Palazzo Barberini, Rome.

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