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Italian school; Mid-18th century."Allegory of sleep.Oil on canvas. Re-drawn,It presents faults in
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Description
Italian school; Mid-18th century.
"Allegory of sleep.
Oil on canvas. Re-drawn,
It presents faults in the frame.
Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).
Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.
This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
"Allegory of sleep.
Oil on canvas. Re-drawn,
It presents faults in the frame.
Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).
Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.
This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
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Italian school; Mid-18th century.
"Allegory of sleep.
Oil on canvas. Re-drawn,
It presents faults in the frame.
Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).
Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.
This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
"Allegory of sleep.
Oil on canvas. Re-drawn,
It presents faults in the frame.
Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).
Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.
This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
28th September - Old Masters
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