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18th Century The Sacrifice of Iphigenia Roma School Painting Oil on Canvas

About the Item

Roman school, 18th century The Sacrifice of Iphigenia Oil on canvas, Measures: 50 x 64.5 cm The canvas depicts The Sacrifice of Iphigenia, a theme reported by numerous sources, including the Greek tragedies Iphigenia in Aulis by Euripides and Agamemnon by Aeschylus, as well as in Ovid's Metamorphoses. The myth tells how the Greeks, under the command of Agamemnon, gathered at the city of Aulis, in Boeotia, from which they then set sail for Troy. The persistent calm of the winds, however, prevents the Greek ships from taking to the sea and the forced stay of the armies in the city favors the spread of an epidemic. Discontent runs rampant and Agamemnon's authority falters. The king then questions the soothsayer Calcante to get some insight into what to do. The latter reveals to him that the difficult situation is the result of Artemis' anger towards Agamemnon himself, guilty of killing, during a hunt, a doe dear to the goddess. The only way to overcome the impasse - continues Calcante - is to sacrifice to Artemis Iphigenia, daughter of Agamemnon. The chief of the Greeks accepts and makes sure that the girl, accompanied by her mother Clytemnestra, reaches Boeotia: to induce mother and daughter to travel Agamemnon, lying, lets them know that Achilles has asked Iphigenia in marriage. Upon the arrival of Iphigenia in Boeotia, Agamemnon's deception is soon revealed, but the girl nevertheless agrees to sacrifice herself to allow the Greek army to reach Troy. he lets them know that Achilles has asked for Iphigenia in marriage. Upon the arrival of Iphigenia in Boeotia, Agamemnon's deception is soon revealed, but the girl nevertheless agrees to sacrifice herself to allow the Greek army to reach Troy. he lets them know that Achilles has asked for Iphigenia in marriage. Upon the arrival of Iphigenia in Boeotia, Agamemnon's deception is soon revealed, but the girl nevertheless agrees to sacrifice herself to allow the Greek army to reach Troy. Our canvas, the work of a Roman Neoclassical painter, is taken from an engraving and a painting by the seventeenth-century painter Pietro Testa (Lucca, 1612 - Rome, 1650). As can be seen in the inscription contained in the first edition of the engraving (later eliminated), the print with the sacrifice of Iphigenia was dedicated by Pietro Testa to Mario Albrizzi, ecclesiastical holder of the office of referendum of the Two Signatures, judicial body of the pontifical administration. The complex dedication to the high prelate contains an eulogy to the purity of the design which is sometimes corrupted by the inadequate use of color. Mentioned by Passeri as one of the highest proofs of the Testa in the field, the engraving (as you can read on the step of the base of the altar) was printed in the printing house set up by Giovanni Giacomo de Rossi in Rome, in via della Pace. The print is signed with the monogram used by the artist (which superimposes a P, a T and an L, Petrus Testa Lucensis, ie Lucca) followed by the words pinx. [It] and sculp. [Sit]. The canvas that Testa derived from it is now kept at the Galleria Spada in Rome.

Dimensions:

Height: 19.69 in (50 cm)Width: 25.4 in (64.5 cm)Depth: 1.58 in (4 cm)

Materials and Techniques:

Canvas,Hand-Painted,Oiled,Painted

Place of Origin:

Italy

Period:

18th Century

Date of Manufacture:

18th Century

Condition:

Refinished. Wear consistent with age and use. The painting has been cleaned.