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Domingo MottaDomingo Motta (1872 - 1962), View of Ancient Rome19th Century
19th Century
About the Item
Domingo Motta (1872 - 1962)
View of ancient Rome - Jesus witnesses the triumph of Constantine
Oil on canvas, 88 x 148 cm
Framed, 114 x 180 cm
Signed lower right
Ligurian painter Domingo Motta restores in this painting a profound reflection on the origins of Christianity as we know it, as well as citing an important work of historical reconstruction of ancient Rome.
In fact, the panorama depicted is a view of ancient Rome at the time of Emperor Constantine's triumph in 312 CE. The learned quotation makes references to a famous work by Joseph Bühlmann (1844 to 1921) and Alexander Wagner (1838 - 1919): the "Das Alte Rom mit dem Triumphzuge Kaiser Constantins im Jahre 312" or, rather, The Ancient Rome with the Triumph of Emperor Constantine in 312 published in Munich in 1892. This is a project of reconstructing the times of ancient Rome made on a laporello (book or pamphlet that opens accordion-like) originally 1.76 cm long (consisting of 22 sheets and 8 photographs) now no longer visible in the original but whose children are preserved original projects in the library of the University of Munich. Depicted is the grandiose temple of Jovian Capitolinus with the Theater of Marcellus behind it. Instead, the building on the right was the access to the Tabularium. All in the distance the buildings of the forum.
Here Motta reworks the Roman view with some trickery by adding the central figure of Christ observing the panorama and a peacock, of symbol of immortality and Christ himself. The complicated reading of the work seems esse a reflection on the future revenge of Christianity; it was de facto Constantine in 313 with the Edict of Milan who granted all citizens, thus including Christians, the freedom to worship their deities. And why not also read into the peacock the symbol of the immortality of Rome, the eternal city.
Domingo Motta was born in Genoa, in 1872, followed classical studies at the Liceo Ginnasio Doria, enrolling, then, at the Accademia Ligustica di Belle Arti. He later attended the studio of Piedmontese landscape painter and portraitist Vittorio Cavalleri, and also that of Ligurian painter Cesare Viazzi, at Palazzo Doria del Principe. He completed his studies by enrolling in the Academy of Fine Arts in Rome. His early work, however, related to the field of set design for the Carlo Felice Theater in Genoa, and other companies. He made his debut as a painter in 1896 when he presented his work Black Foam at the Promoting Society of Fine Arts. Around 1899, his Parisian experience began, which was to prove particularly important. Before that he assiduously participated in regional Ligurian exhibitions and, from 1896, joined the Ligurian Artistic Family, about twenty-five artists including painters, sculptors and architects: Bardinero, G.B. Bassano, Angelo Costa, Calderara, Figari, Pennasilico, Sacheri, Guido Mejneri, Cesare Viazzi and others.
In 1898 he executed the famous painting "The Stonebreaker," verist-inspired, linked to a new, anti-bourgeois social realism. From 1899, the portrait titled lris (homage to the work of Livorno composer Pietro Mascagni), with a postimpressionist taste linked to floral symbolist themes. Returning to his Parisian experience, Motta follows with particular attention the study of colors and new techniques, noteworthy is the important painting Study for a Portrait of Mrs. Pia Porta Crespi dated 1900, in which he shows that he has learned the new artistic theories of the time. In Paris he exhibited a number of paintings and numerous etchings at the Galerie Georges Petit. He began exhibiting at the Parisian Salons, achieving considerable success. The publishers Pierrefor, of Paris, and Lebau, of Germany, published his engravings and organized, in the meantime, numerous exhibitions at the European level. Around 1906, enriched by such important experiences, he returned to Genoa.
He resumed exhibiting regularly at the Società Promotrice di Belle Arti where in 1907 he presented the following works: The Garden; Portrait of a Lady; The Mist; The Tree.Together with De Albertis he frequented Plinio Nomellini, in Torre del Lago, thus approaching pointillism. In 1918 he participated in the "Young Liguria" Exhibition in Viareggio; created the first Municipal Calcographic Cabinet and from 1930 to 1934 directed the Engraving Schools of the Ligustica Academy. Painter, printmaker, set designer, follows a varied artistic path.Sensitive portraitist, initially linked to liberty-symbolist atmospheres, interprets pointillism and comes to the experience of the second futurism, still remains linked to realism and decorativism.
- Creator:Domingo Motta (Italian)
- Creation Year:19th Century
- Dimensions:Height: 34.65 in (88 cm)Width: 58.27 in (148 cm)
- More Editions & Sizes:88x148Price: $12,484
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216360442
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