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Giacomo Francesco Cipper (Todeschini)The Fishmonger Painted by Giacomo Francesco Cipper known as the Todeschini
About the Item
Giacomo Francesco Cipper, called the Todeschini (Feldkirch, 1664 - Milan, 1736)
The fishmonger
Oil on canvas, 64 x 83 cm - Framed, 85 x 101 cm
The crisp harbor air that saturates the present scene renders every small detail with vibrant rendering, even the still moist scales of the fish on display. A family of fishmongers is portrayed as they attend to their daily tasks. If the little son is distracted and the wife is patiently peeling frogs (in one bag it is the initial product, in another, curiously, the outcome of the skinning) the head of the household is slicing a large fish for a customer with tricorn neatly socked on his head. The look of understanding between the two, as well as the gestures employed and the extraordinary veins painted on the vendor's forearm, accentuate the almost Vergian verism gushing from the whole scene: note the vivid cheeks of the depicted and the hanger of hooks to display the hanging wares, neatly arranged at the corner of the table.
The utter lack of pietism with which the excellent artist, Giacomo Francesco Cipper known as the Todeschini (1664-1736) treats his effigies, again demonstrates his artistic goal: to render with lucid pragmatism the beauty of concrete life. Unlike many of his contemporaries who turned scenes of common life to melancholy patheticism, Todeschini faithfully clung to a lively optimistic restitution of life, illuminating in his paintings with peasants, card players and musicians. The artist set out to renew the seventeenth-century tradition of the bamboccianti and to reread the examples of Monsù Bernardo and Alessandro Magnasco in a personal key, with the ambition of transposing the ideas of the latter on a 'monumental' spirit, devoting himself at the same time to a realistic definition of objects of daily use, food and furnishings, reaching the utmost consequences of the comic and grotesque tradition. An Austrian by birth but a Lombard by adoption, Todeschini in 1696 turns out to be already residing in Milan, an essential artistic hub for later reaching the cities of Bergamo and Brescia, at which he was active. Cipper was able to profoundly renew the coeval seventeenth-century tradition of the Bamboccianti, revolutionizing it through a personal figurativism characterized by color plasticism and forthright expressiveness. He began to portray the variegated humanity of the popolo minuto with natural inclination: these representations, however, are not immune to a good dose of irony, satirical verve and, at times, blatant licentiousness, as important as the reforms affecting dialect theater, especially Milanese, which seems to accompany the evolution that intervenes, between Todeschini and Ceruti.
The vibrant brushstrokes veiled in realism and patheticism are found in other works by Todeschini now in private collections, such as the Scena di mercato (Zeri collection), where the figures, baskets, and still lifes of vegetables recall the stylistic features of the scene under consideration; again, a market scene in a private collection; finally, the physiognomy of the boy with his hand holding his head is also discernible in a painting depicting this time a figure of a young man, also in a private collection. See most recently the Gender Scene preserved at the Ala Ponzone Museum in Cremona.
- Creator:Giacomo Francesco Cipper (Todeschini) (1664 - 1736, Italian)
- Dimensions:Height: 33.47 in (85 cm)Width: 39.77 in (101 cm)
- Medium:
- Period:Late 17th Century
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639213034952
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