Maria Barberini Duglioli, Study On Finelli

DSCF072611 x 16. Graphite stick drawing on cartridge paper, Phillip Carrero.

The remarkable technique of Finelli gave him a distinctive approach to portraiture. In the bust of Maria Barberini Duglioli, Urban VIII’s niece, he made the lace collar a ‘tour de force’, indeed, this bust was originally kept in a wire cage to protect the perforations of the lady’s collar, the flower in her curly hair, her ropes of pearls and her clasp with the Barberini family’s armorial bee. Portrait busts of women have always been comparatively rare, and Finelli’s work in this case conformed to the accepted formula by focusing on the accessories, leaving the expression vague and the eyes blank. Apparently, Bernini subcontracted this bust to his assistant in 1626, promising to recommend Finelli to the Pope for future employment. None was forthcoming, but the bust raised the standard for female portraits, becoming a touchstone for subsequent works.

By Phillip

Currans Hill artist Phil Carrero started as an impressionable 16 year old drawing charcoal portraits through the streets of Buenos Aires. He worked his way up from drawing to painting and begun to sell his works around that time. Coming to Australia in 1973 , at the age of 23, Mr Carrero continued his studies in Art and completed an apprenticeship for four months to get himself better acquainted with portraiture painting. Meanwhile, for almost ten years produced and sold many ship portraits and marine paintings. -After that I begun getting around 12 commissions a year for just portraits. That's the point when he begun to make a living out of painting-, he said. He paints in the Traditional, Realistic style ... English and Italian schools, his portraits can resemble the Grand Manner style of the 19th and 20th centuries in England and later, America. (extracted from "Artist has brush with thieves", Macarthur Advertiser, January 2004)