16 Facts About Giuseppe Crespi

Giuseppe Crespi's mother was a distant relative of the noble Cospi family, which had ties to the Florentine House of Medici.

Giuseppe Crespi was nicknamed "the Spanish One" because of his habit of wearing tight clothes characteristic of Spanish fashion at the time.

From this time on, Giuseppe Crespi worked independently of other artists.

Giuseppe Crespi is said to have had a camera optica in his house for painting.

Giuseppe Crespi journeyed to Venice, but surprisingly, never to Rome.

Giuseppe Crespi had been forced to flee Bologna with the canvas, which while intended for the Duke, had been fancied by a local priest, Don Carlo Silva for himself.

An eclectic artist, Giuseppe Crespi was a portrait painter and a brilliant caricaturist, and he was known for his etchings after Rembrandt and Salvator Rosa.

Giuseppe Crespi could be said to have painted a number of masterpieces in different styles.

Giuseppe Crespi painted few frescoes, in part because he refused to paint for quadraturists, though in all likelihood, his style would not have matched the requirements of a medium then often used for grandiloquent scenography.

Giuseppe Crespi was not universally appreciated, Lanzi quotes Mengs as lamenting that the Bolognese school should close with the capricious Crespi.

Lanzi himself describes Giuseppe Crespi as allowing his "turn for novelty at length to lead his fine genius astray".

Giuseppe Crespi found Crespi included caricature in even scriptural or heroic subjects, he cramped his figures, he "fell in to mannerism", and painted with few colors and few brushstrokes, "employed indeed with judgement but too superficial and without strength of body".

Giuseppe Crespi is best known today as one of the main proponents of baroque genre painting in Italy.

Giuseppe Crespi painted many kitchen scenes and other domestic subjects.

Giuseppe Crespi is not a Botticellian beauty, but a mortal, her lapdog asleep on the bed-sheets.

Giuseppe Crespi's Resurrection of Christ is a dramatic arrangement in dynamic perspectives, somewhat influenced by Annibale Carracci's altarpiece of the same subject.