The portraits

Andrea Doria collects tapestry, silvers and paintings, and his successors share his artistic preferences. In the field of trestle paintings, the attention of the Doria family was concentrated on portraits, therefore in the painting collection present in the villa an important section is dedicated to portrayed exponents of the lineage. Of great artistic relevance are the portraits of Andrea. The famous painting executed by Sebastiano del Piombo under direction of Pope Clemente VII in 1526, when the Doria exponent was made supreme captain of the papal fleet, represents him in his sixties with a stark black outfit, with the admiral cap on his head. The painting of Sebastiano del Piombo is considered one of the first examples of state portrait ; another famous image of Andrea Doria with opposite interpretation, the allegoric one, can be found in the villa. Painted from Bronzino for Paolo Giovino’s collection of effigy of illustrious men, represents him as of Neptune, in a heroic nudity, partly inspired to the David of Michelangelo. A third Portrait of Andrea Doria suggests a way more realistic representation of the admiral in his late years ,in company of his cat: Andrea is looking directly at the spectator displaying a face marked with deep wrinkles and with his eyelids lowering on his reddened eyes; in front of him on a table stand a big tabby cat and a clock.

Without any direct descendants, Andrea had nominated as his heir Giannettino, who however in 1547 was victim of the Fieschi’s conspiracy: At the villa is still present a wonderful portrait, attributed to Bronzino or to Francesco Saviati, that retracts him in three fourth-quarters, elegantly dressed; his right hand wrests on his thigh, the left one holds the hilt of his sward. Afterwards Andrea chose as his heir the son of Giannetto, Giovanni Andrea I, who was portrayed from Alessandro Vaiani with the vest of the knights of the Saint James of the Sward; in the background you can spot some galleys engaged in battle, allusion to his rank of “general of the sea” for King Filippo II. The Molosser Roldano is to the fore in the painting. The dog was donated from the Spanish king to Doria and is himself starring in a canvass painted from Aurelio Lomi in which a young valet (or a young member of the lineage) elegantly dressed grooms him with a silver brush, precisely described in the belongings inventory redacted after the death of Giovanni Andrea. In the many effigy representing dames of the family stands out the portrait of Anna Pamphilj painted from Ferdinand Voet, sent in 1671 to the betrothed Giovanni Andrea III Doria, and the portrait of Teresa Doria Tursi opera of Domenico Parodi that is part of a series of oval shaped paintings in which in the first decades of the XVIII century the artist represented many women of the lineage.
At last in the painting collection of the villa the portraits representing the members of the lineage who reached the Cardinal’s crimson can’t be missing. Giuseppe Doria son of Giovanni Andrea IV had a brilliant career: Apostolic Visitor in France from 1773 and in this vests represented from the painter Filippo Sannari- he was then nominated Cardinal in 1785, until reaching the title of papal chamberlain under Pio VII. The figure of Giuseppe is also represented in a more complex composition, in witch a painter self-portraits himself surrounded by assistants and apprentices, wile giving the last finishes to the cardinal’s portrait. The artist has been identified as Antonio Cancioli, in a canvas that is considered one of the more conspicuous examples of Roman conversation pieces in the last decade of the eighteenth century.