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Circle of CORRADO GIAQUINTO (Molfetta, 1703 - Naples, 1766)."Allegory of Magnanimity" and "
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Description
Circle of CORRADO GIAQUINTO (Molfetta, 1703 - Naples, 1766).
"Allegory of Magnanimity" and "Allegory of Liberty", second half of the 18th century.
Pair of oil paintings on canvas.
The works have new stretcher bars and reinforcement bands on the canvas. Both have been cleaned in order to preserve their conservation.
Measurements: 73.5 x 55 cm (each).
The set of works presented to us are based on the works by the Italian artist Corrado Giaquinto and located in the Japelli room of the Casita del Príncipe at the Escorial.
Both works, in rococo style, express the strength of the power of the patrons of the original work. The works show the freedom with which artists, active in the second half of the 18th century, could go in search of ideal beauty. Commissions of this kind, involving allegories and "neoclassical" themes, came with the sophistication of the European courts, whose interest lay in hiring artists to decorate the aristocratic palaces that were newly built or renovated during the 18th century. In this way, there was ample space for artistic productions, giving rise to interesting novelties.
In this case, the allegory of Liberty, depicted as a richly attired young woman, represents the symbol of virtue. As such, she is shown giving her belongings without expecting anything in return. Seated on the horn of plenty, she is accompanied by three little lovers, one of whom is holding a large tray filled with precious objects and riches. As for the allegory of Magnanimity, it also takes the form of a young woman dressed in elegant clothes, in a seated position, with a horn of plenty at her feet. The scene is completed by two little love birds accompanying her, while she diligently directs her gaze while pointing downwards as a symbol of clemency.
The artist Corrado Giaquinto was one of the greatest representatives of Rococo, distinguished by his grace and style, full of formal subtleties to the point that his work was taken as an example by different generations of Spanish artists. His fame was such that he was appointed first chamber painter by King Ferdinand VI, commissioning him to decorate the Royal Palace and other court palaces. But the recognition of the Italian artist did not stop there, and he became director of the Royal Academy of Fine Arts of San Fernando and artistic director of the Royal Tapestry Factory of Santa Bárbara.
"Allegory of Magnanimity" and "Allegory of Liberty", second half of the 18th century.
Pair of oil paintings on canvas.
The works have new stretcher bars and reinforcement bands on the canvas. Both have been cleaned in order to preserve their conservation.
Measurements: 73.5 x 55 cm (each).
The set of works presented to us are based on the works by the Italian artist Corrado Giaquinto and located in the Japelli room of the Casita del Príncipe at the Escorial.
Both works, in rococo style, express the strength of the power of the patrons of the original work. The works show the freedom with which artists, active in the second half of the 18th century, could go in search of ideal beauty. Commissions of this kind, involving allegories and "neoclassical" themes, came with the sophistication of the European courts, whose interest lay in hiring artists to decorate the aristocratic palaces that were newly built or renovated during the 18th century. In this way, there was ample space for artistic productions, giving rise to interesting novelties.
In this case, the allegory of Liberty, depicted as a richly attired young woman, represents the symbol of virtue. As such, she is shown giving her belongings without expecting anything in return. Seated on the horn of plenty, she is accompanied by three little lovers, one of whom is holding a large tray filled with precious objects and riches. As for the allegory of Magnanimity, it also takes the form of a young woman dressed in elegant clothes, in a seated position, with a horn of plenty at her feet. The scene is completed by two little love birds accompanying her, while she diligently directs her gaze while pointing downwards as a symbol of clemency.
The artist Corrado Giaquinto was one of the greatest representatives of Rococo, distinguished by his grace and style, full of formal subtleties to the point that his work was taken as an example by different generations of Spanish artists. His fame was such that he was appointed first chamber painter by King Ferdinand VI, commissioning him to decorate the Royal Palace and other court palaces. But the recognition of the Italian artist did not stop there, and he became director of the Royal Academy of Fine Arts of San Fernando and artistic director of the Royal Tapestry Factory of Santa Bárbara.
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Circle of CORRADO GIAQUINTO (Molfetta, 1703 - Naples, 1766).
"Allegory of Magnanimity" and "Allegory of Liberty", second half of the 18th century.
Pair of oil paintings on canvas.
The works have new stretcher bars and reinforcement bands on the canvas. Both have been cleaned in order to preserve their conservation.
Measurements: 73.5 x 55 cm (each).
The set of works presented to us are based on the works by the Italian artist Corrado Giaquinto and located in the Japelli room of the Casita del Príncipe at the Escorial.
Both works, in rococo style, express the strength of the power of the patrons of the original work. The works show the freedom with which artists, active in the second half of the 18th century, could go in search of ideal beauty. Commissions of this kind, involving allegories and "neoclassical" themes, came with the sophistication of the European courts, whose interest lay in hiring artists to decorate the aristocratic palaces that were newly built or renovated during the 18th century. In this way, there was ample space for artistic productions, giving rise to interesting novelties.
In this case, the allegory of Liberty, depicted as a richly attired young woman, represents the symbol of virtue. As such, she is shown giving her belongings without expecting anything in return. Seated on the horn of plenty, she is accompanied by three little lovers, one of whom is holding a large tray filled with precious objects and riches. As for the allegory of Magnanimity, it also takes the form of a young woman dressed in elegant clothes, in a seated position, with a horn of plenty at her feet. The scene is completed by two little love birds accompanying her, while she diligently directs her gaze while pointing downwards as a symbol of clemency.
The artist Corrado Giaquinto was one of the greatest representatives of Rococo, distinguished by his grace and style, full of formal subtleties to the point that his work was taken as an example by different generations of Spanish artists. His fame was such that he was appointed first chamber painter by King Ferdinand VI, commissioning him to decorate the Royal Palace and other court palaces. But the recognition of the Italian artist did not stop there, and he became director of the Royal Academy of Fine Arts of San Fernando and artistic director of the Royal Tapestry Factory of Santa Bárbara.
"Allegory of Magnanimity" and "Allegory of Liberty", second half of the 18th century.
Pair of oil paintings on canvas.
The works have new stretcher bars and reinforcement bands on the canvas. Both have been cleaned in order to preserve their conservation.
Measurements: 73.5 x 55 cm (each).
The set of works presented to us are based on the works by the Italian artist Corrado Giaquinto and located in the Japelli room of the Casita del Príncipe at the Escorial.
Both works, in rococo style, express the strength of the power of the patrons of the original work. The works show the freedom with which artists, active in the second half of the 18th century, could go in search of ideal beauty. Commissions of this kind, involving allegories and "neoclassical" themes, came with the sophistication of the European courts, whose interest lay in hiring artists to decorate the aristocratic palaces that were newly built or renovated during the 18th century. In this way, there was ample space for artistic productions, giving rise to interesting novelties.
In this case, the allegory of Liberty, depicted as a richly attired young woman, represents the symbol of virtue. As such, she is shown giving her belongings without expecting anything in return. Seated on the horn of plenty, she is accompanied by three little lovers, one of whom is holding a large tray filled with precious objects and riches. As for the allegory of Magnanimity, it also takes the form of a young woman dressed in elegant clothes, in a seated position, with a horn of plenty at her feet. The scene is completed by two little love birds accompanying her, while she diligently directs her gaze while pointing downwards as a symbol of clemency.
The artist Corrado Giaquinto was one of the greatest representatives of Rococo, distinguished by his grace and style, full of formal subtleties to the point that his work was taken as an example by different generations of Spanish artists. His fame was such that he was appointed first chamber painter by King Ferdinand VI, commissioning him to decorate the Royal Palace and other court palaces. But the recognition of the Italian artist did not stop there, and he became director of the Royal Academy of Fine Arts of San Fernando and artistic director of the Royal Tapestry Factory of Santa Bárbara.
26th October - Old Masters
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