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Italian school; Late 17th century."The Last Judgement.Oil on canvas.It presents restorations and
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Description
Italian school; Late 17th century.
"The Last Judgement.
Oil on canvas.
It presents restorations and repainting.
Measurements: 61 x 50 cm; 74 x 64 cm (frame).
In a line clearly derived from the works of Solimena, the author of this work recreates the Last Judgement following the Renaissance iconography, with a composition ordered in two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, seated on a cloud and with the orb under his right arm, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by groups of angels and archangels who kneel praying for the souls of men, dominated in turn by the presence of God in the upper area. On the lower plane, the large size of the figures stands out, depicted larger than the angels on the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. Saints and martyrs appear on this lower plane.
From its formal characteristics we can relate this work to the circle of Francesco Solimena (Italy, 1657-1747), an Italian painter of the late Baroque period, the main representative of the Neapolitan school of the first half of the 18th century. Francesco Solimena trained with his father, also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose studio he became familiar with the more advanced Baroque style of Cortona, Lanfranco, Preti and Giordano. His early works reveal a clear affinity with the Roman Baroque as well as with the more recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the more tenebrous art of Mattia Preti, insisting on greater plasticity. Thus the shading that characterises his figures began to appear in his work. He soon became the visible head of the Neapolitan school and was later influenced by the classicism of Maratta, which led him to seek a greater intensity in his drawing with academic accents. Works by Solimena are now in the Museo del Prado, the Hermitage in Saint Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections throughout the world.
"The Last Judgement.
Oil on canvas.
It presents restorations and repainting.
Measurements: 61 x 50 cm; 74 x 64 cm (frame).
In a line clearly derived from the works of Solimena, the author of this work recreates the Last Judgement following the Renaissance iconography, with a composition ordered in two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, seated on a cloud and with the orb under his right arm, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by groups of angels and archangels who kneel praying for the souls of men, dominated in turn by the presence of God in the upper area. On the lower plane, the large size of the figures stands out, depicted larger than the angels on the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. Saints and martyrs appear on this lower plane.
From its formal characteristics we can relate this work to the circle of Francesco Solimena (Italy, 1657-1747), an Italian painter of the late Baroque period, the main representative of the Neapolitan school of the first half of the 18th century. Francesco Solimena trained with his father, also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose studio he became familiar with the more advanced Baroque style of Cortona, Lanfranco, Preti and Giordano. His early works reveal a clear affinity with the Roman Baroque as well as with the more recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the more tenebrous art of Mattia Preti, insisting on greater plasticity. Thus the shading that characterises his figures began to appear in his work. He soon became the visible head of the Neapolitan school and was later influenced by the classicism of Maratta, which led him to seek a greater intensity in his drawing with academic accents. Works by Solimena are now in the Museo del Prado, the Hermitage in Saint Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections throughout the world.
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Italian school; Late 17th century.
"The Last Judgement.
Oil on canvas.
It presents restorations and repainting.
Measurements: 61 x 50 cm; 74 x 64 cm (frame).
In a line clearly derived from the works of Solimena, the author of this work recreates the Last Judgement following the Renaissance iconography, with a composition ordered in two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, seated on a cloud and with the orb under his right arm, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by groups of angels and archangels who kneel praying for the souls of men, dominated in turn by the presence of God in the upper area. On the lower plane, the large size of the figures stands out, depicted larger than the angels on the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. Saints and martyrs appear on this lower plane.
From its formal characteristics we can relate this work to the circle of Francesco Solimena (Italy, 1657-1747), an Italian painter of the late Baroque period, the main representative of the Neapolitan school of the first half of the 18th century. Francesco Solimena trained with his father, also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose studio he became familiar with the more advanced Baroque style of Cortona, Lanfranco, Preti and Giordano. His early works reveal a clear affinity with the Roman Baroque as well as with the more recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the more tenebrous art of Mattia Preti, insisting on greater plasticity. Thus the shading that characterises his figures began to appear in his work. He soon became the visible head of the Neapolitan school and was later influenced by the classicism of Maratta, which led him to seek a greater intensity in his drawing with academic accents. Works by Solimena are now in the Museo del Prado, the Hermitage in Saint Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections throughout the world.
"The Last Judgement.
Oil on canvas.
It presents restorations and repainting.
Measurements: 61 x 50 cm; 74 x 64 cm (frame).
In a line clearly derived from the works of Solimena, the author of this work recreates the Last Judgement following the Renaissance iconography, with a composition ordered in two planes, the heavenly and the earthly. At the top, Christ appears in the centre as the judge, raising his hand in blessing as a sign of authority, seated on a cloud and with the orb under his right arm, symbolising the universality of Christian doctrine and, therefore, of the Judgement itself. He is accompanied on either side by Saint Joseph and the Virgin, intercessor for humanity at the Judgement. The upper plane is completed on either side by groups of angels and archangels who kneel praying for the souls of men, dominated in turn by the presence of God in the upper area. On the lower plane, the large size of the figures stands out, depicted larger than the angels on the celestial plane. This is due to the fact that the artist has tried to represent pictorially the greater distance between the viewer and the sky, which is, after all, above his head. Saints and martyrs appear on this lower plane.
From its formal characteristics we can relate this work to the circle of Francesco Solimena (Italy, 1657-1747), an Italian painter of the late Baroque period, the main representative of the Neapolitan school of the first half of the 18th century. Francesco Solimena trained with his father, also a painter, and developed his career in Naples, where he settled in 1674. There he furthered his training with De Maria, in whose studio he became familiar with the more advanced Baroque style of Cortona, Lanfranco, Preti and Giordano. His early works reveal a clear affinity with the Roman Baroque as well as with the more recent Neapolitan pictorial tradition. Later, seeking to develop an alternative to Giordano's fanciful language, Solimena approached the more tenebrous art of Mattia Preti, insisting on greater plasticity. Thus the shading that characterises his figures began to appear in his work. He soon became the visible head of the Neapolitan school and was later influenced by the classicism of Maratta, which led him to seek a greater intensity in his drawing with academic accents. Works by Solimena are now in the Museo del Prado, the Hermitage in Saint Petersburg, the J. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the National Gallery in London and the Rijksmuseum in Amsterdam, among other public and private collections throughout the world.
22nd November - Old Masters
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