Manetti’s Dido and Aeneas explained
Article from Coco Depink
Rutilio Manetti was one of those busy and reliable provincial painters whose manner was derived from the innovations of more important artists in major artistic centers and who, in certain works, brought an injection of metropolitan excitement to the art of his hometown. He fulfilled a purely local demand for altarpieces, decorations, and history paintings in styles reflecting several of the fashions of the day, some reminiscent of Caravaggio, others of the Gentileschi, and so on. Manetti has benefited from the stimulating resurgence in Italy in the last twenty years of local interest in native talent, even thought he was not one of the innovators in the history of Italian painting not even one of those artists with a quirky and appealing poetry who sometimes emerges despite a provincial heritage.
If Siena, where Manetti was born in 1571 and where he spent most of his life, was a less significant city under the late Medici rule in the seventeenth century that it had been as an independent city-state in medieval times, it still was quite an important religious center and there was a lively demand for a good painter or two to serve the church, city and private patrons. Little is known of his early career. After completing the altar piece of the Death of the Blessed Anthony Patrizi ( Sant’ Agostino Monticiano) in 1616 a painting that betrays some knowledge of the advanced art of Artemisia Gentileschi who was active in Florence at that time, Manetti likely went to Rome…














