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FILIPPO LAURI (Rome, 1623-1694)."Sleeping Venus with Cupid and Satyrs", ca.1643-1690.Oil on
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Description
FILIPPO LAURI (Rome, 1623-1694).
"Sleeping Venus with Cupid and Satyrs", ca.1643-1690.
Oil on canvas. Re-tinted.
Attached is a report by the Italian art historian Mirko Gambaro, 2021.
Restoration and repainting.
Xylophages on the stretcher.
20th century frame.
Measurements: 62 x 80 cm; 82,5 x 101 cm (frame).
The historian Mirko Gambaro, in the attached report, relates the present work attributed to Filippo Lauri with other paintings by the author, which are variations on the same theme: also catalogued under the title "Sleeping Venus with Cupid and Satyrs", they are kept respectively in private collections in London and Ljubljana. Filippo Lauri was able to absorb the mixture of influences he received during his training, both Flemish and Italian. In this splendid painting, it is clear that the academic training, framed within the classicist Baroque, is transcended to become imbued with a sensuality of Titianesque roots. Venus, like a sleeping beauty, placidly ignores being spied on by a pair of satyrs who want to steal Cupid's arrows, who also sleeps happily on her mother's lap. The ugliness of the male characters further emphasises, by contrast, the beautiful features of the woman and the sweetness of Eros. The ivory-coloured skins of both also contrast, as a counter-image, to the faunus's blackened flesh. Venus's garments float rather than envelop her voluptuous figure, adding a dreamy quality to an already lyrical scene. Wide draperies hang from the trees, constructing a canopy that protects the sleepers. The richness of tone and the fluffy qualities of the green and earthy shades that make up the landscape are also remarkable. The female model of the goddess of love is very similar to the one that the same painter developed in various works, such as "Venus and Cupid" in the Weston Park Foundation, which also repeats the vaporous manner in which the vegetation is depicted.
Filippo Lauri was an Italian painter of the Baroque period, primarily active in Rome. He trained initially with his father, Balthasar Lauwers (Italianised as Lauri), who was a Flemish landscape painter, and subsequently worked with his older brother, Francesco Lauri, and his brother-in-law, Angelo Caroselli. Filippo's brother had been a pupil of Andrea Sacchi. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became director of the academy. Together with Filippo Gagliardi, he painted a canvas depicting the Celebrations of Christina of Sweden in the Palazzo Barberini (now Palazzo Braschi), which demonstrates the exuberant pomp of the period. Filippo's father had emigrated from Antwerp and was a pupil of Paul Bril. Filippo's older brother, Francesco Lauri, was also a painter and a pupil of Andrea Sacchi, but died young. Fillipo often painted small figures for Claude Lorraine's landscapes. He was prolific. He employed many engravers. His life is recorded in Baldinucci's compendium of biographies.
"Sleeping Venus with Cupid and Satyrs", ca.1643-1690.
Oil on canvas. Re-tinted.
Attached is a report by the Italian art historian Mirko Gambaro, 2021.
Restoration and repainting.
Xylophages on the stretcher.
20th century frame.
Measurements: 62 x 80 cm; 82,5 x 101 cm (frame).
The historian Mirko Gambaro, in the attached report, relates the present work attributed to Filippo Lauri with other paintings by the author, which are variations on the same theme: also catalogued under the title "Sleeping Venus with Cupid and Satyrs", they are kept respectively in private collections in London and Ljubljana. Filippo Lauri was able to absorb the mixture of influences he received during his training, both Flemish and Italian. In this splendid painting, it is clear that the academic training, framed within the classicist Baroque, is transcended to become imbued with a sensuality of Titianesque roots. Venus, like a sleeping beauty, placidly ignores being spied on by a pair of satyrs who want to steal Cupid's arrows, who also sleeps happily on her mother's lap. The ugliness of the male characters further emphasises, by contrast, the beautiful features of the woman and the sweetness of Eros. The ivory-coloured skins of both also contrast, as a counter-image, to the faunus's blackened flesh. Venus's garments float rather than envelop her voluptuous figure, adding a dreamy quality to an already lyrical scene. Wide draperies hang from the trees, constructing a canopy that protects the sleepers. The richness of tone and the fluffy qualities of the green and earthy shades that make up the landscape are also remarkable. The female model of the goddess of love is very similar to the one that the same painter developed in various works, such as "Venus and Cupid" in the Weston Park Foundation, which also repeats the vaporous manner in which the vegetation is depicted.
Filippo Lauri was an Italian painter of the Baroque period, primarily active in Rome. He trained initially with his father, Balthasar Lauwers (Italianised as Lauri), who was a Flemish landscape painter, and subsequently worked with his older brother, Francesco Lauri, and his brother-in-law, Angelo Caroselli. Filippo's brother had been a pupil of Andrea Sacchi. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became director of the academy. Together with Filippo Gagliardi, he painted a canvas depicting the Celebrations of Christina of Sweden in the Palazzo Barberini (now Palazzo Braschi), which demonstrates the exuberant pomp of the period. Filippo's father had emigrated from Antwerp and was a pupil of Paul Bril. Filippo's older brother, Francesco Lauri, was also a painter and a pupil of Andrea Sacchi, but died young. Fillipo often painted small figures for Claude Lorraine's landscapes. He was prolific. He employed many engravers. His life is recorded in Baldinucci's compendium of biographies.
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FILIPPO LAURI (Rome, 1623-1694).
"Sleeping Venus with Cupid and Satyrs", ca.1643-1690.
Oil on canvas. Re-tinted.
Attached is a report by the Italian art historian Mirko Gambaro, 2021.
Restoration and repainting.
Xylophages on the stretcher.
20th century frame.
Measurements: 62 x 80 cm; 82,5 x 101 cm (frame).
The historian Mirko Gambaro, in the attached report, relates the present work attributed to Filippo Lauri with other paintings by the author, which are variations on the same theme: also catalogued under the title "Sleeping Venus with Cupid and Satyrs", they are kept respectively in private collections in London and Ljubljana. Filippo Lauri was able to absorb the mixture of influences he received during his training, both Flemish and Italian. In this splendid painting, it is clear that the academic training, framed within the classicist Baroque, is transcended to become imbued with a sensuality of Titianesque roots. Venus, like a sleeping beauty, placidly ignores being spied on by a pair of satyrs who want to steal Cupid's arrows, who also sleeps happily on her mother's lap. The ugliness of the male characters further emphasises, by contrast, the beautiful features of the woman and the sweetness of Eros. The ivory-coloured skins of both also contrast, as a counter-image, to the faunus's blackened flesh. Venus's garments float rather than envelop her voluptuous figure, adding a dreamy quality to an already lyrical scene. Wide draperies hang from the trees, constructing a canopy that protects the sleepers. The richness of tone and the fluffy qualities of the green and earthy shades that make up the landscape are also remarkable. The female model of the goddess of love is very similar to the one that the same painter developed in various works, such as "Venus and Cupid" in the Weston Park Foundation, which also repeats the vaporous manner in which the vegetation is depicted.
Filippo Lauri was an Italian painter of the Baroque period, primarily active in Rome. He trained initially with his father, Balthasar Lauwers (Italianised as Lauri), who was a Flemish landscape painter, and subsequently worked with his older brother, Francesco Lauri, and his brother-in-law, Angelo Caroselli. Filippo's brother had been a pupil of Andrea Sacchi. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became director of the academy. Together with Filippo Gagliardi, he painted a canvas depicting the Celebrations of Christina of Sweden in the Palazzo Barberini (now Palazzo Braschi), which demonstrates the exuberant pomp of the period. Filippo's father had emigrated from Antwerp and was a pupil of Paul Bril. Filippo's older brother, Francesco Lauri, was also a painter and a pupil of Andrea Sacchi, but died young. Fillipo often painted small figures for Claude Lorraine's landscapes. He was prolific. He employed many engravers. His life is recorded in Baldinucci's compendium of biographies.
"Sleeping Venus with Cupid and Satyrs", ca.1643-1690.
Oil on canvas. Re-tinted.
Attached is a report by the Italian art historian Mirko Gambaro, 2021.
Restoration and repainting.
Xylophages on the stretcher.
20th century frame.
Measurements: 62 x 80 cm; 82,5 x 101 cm (frame).
The historian Mirko Gambaro, in the attached report, relates the present work attributed to Filippo Lauri with other paintings by the author, which are variations on the same theme: also catalogued under the title "Sleeping Venus with Cupid and Satyrs", they are kept respectively in private collections in London and Ljubljana. Filippo Lauri was able to absorb the mixture of influences he received during his training, both Flemish and Italian. In this splendid painting, it is clear that the academic training, framed within the classicist Baroque, is transcended to become imbued with a sensuality of Titianesque roots. Venus, like a sleeping beauty, placidly ignores being spied on by a pair of satyrs who want to steal Cupid's arrows, who also sleeps happily on her mother's lap. The ugliness of the male characters further emphasises, by contrast, the beautiful features of the woman and the sweetness of Eros. The ivory-coloured skins of both also contrast, as a counter-image, to the faunus's blackened flesh. Venus's garments float rather than envelop her voluptuous figure, adding a dreamy quality to an already lyrical scene. Wide draperies hang from the trees, constructing a canopy that protects the sleepers. The richness of tone and the fluffy qualities of the green and earthy shades that make up the landscape are also remarkable. The female model of the goddess of love is very similar to the one that the same painter developed in various works, such as "Venus and Cupid" in the Weston Park Foundation, which also repeats the vaporous manner in which the vegetation is depicted.
Filippo Lauri was an Italian painter of the Baroque period, primarily active in Rome. He trained initially with his father, Balthasar Lauwers (Italianised as Lauri), who was a Flemish landscape painter, and subsequently worked with his older brother, Francesco Lauri, and his brother-in-law, Angelo Caroselli. Filippo's brother had been a pupil of Andrea Sacchi. In 1654 Lauri became a member of the Accademia di San Luca in Rome, and later became director of the academy. Together with Filippo Gagliardi, he painted a canvas depicting the Celebrations of Christina of Sweden in the Palazzo Barberini (now Palazzo Braschi), which demonstrates the exuberant pomp of the period. Filippo's father had emigrated from Antwerp and was a pupil of Paul Bril. Filippo's older brother, Francesco Lauri, was also a painter and a pupil of Andrea Sacchi, but died young. Fillipo often painted small figures for Claude Lorraine's landscapes. He was prolific. He employed many engravers. His life is recorded in Baldinucci's compendium of biographies.
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