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Giacomo Casa (Conegliano, 1827 - Roma, 1887)Giacomo Casa (Conegliano, 1827 - Rome, 1887), Allegory of Venice19th Century
19th Century
$6,850.12
£5,157.10
€5,800
CA$9,436.50
A$10,568.28
CHF 5,514.36
MX$129,087.02
NOK 70,158.66
SEK 66,132.95
DKK 44,150.39
About the Item
Giacomo Casa (Conegliano, 1827 - Rome, 1887)
Allegory of Venice
Oil on canvas, 50.5 x 40 cm
With frame 65.5 x 53.5 cm
The Unification of Italy and its historical and political journey fueled the production of specific works of art, evoking war scenes, political and popular episodes, but also complex allegorical depictions. Typical of this illustrative strand is the painting under consideration, recognized to Giacomo Casa (1827-1887) given the stylistic and compositional consonances with his typical pictorial production, as well as for the direct relationship, given the iconographic scheme and the elegant decorative figure, with the allegorical work depicting Republican Venice resurrected to freedom and art, with the tricolor flag, executed in 1848 by Casa and now preserved at the Museum of the Risorgimento and Resistance in Vicenza.
A painting with strong patriotic significance, it features a female figure in the center, which can be identified with the Allegory of Venice: the setting in a rural landscape differs from the port and seascape found in the Vicenza painting but would indicate the Venetian power extended into the Venetian and Lombardy hinterlands throughout the history of the maritime republic; moreover, the lion's presence should be interpreted as a clear reference to the main symbol of the lagoon city, depicted along with the usual attributes of arms, shown at her feet and with laurel wreaths beside her, leading back to military glories. Further patriotic reference, is the depiction of the woman with bare breasts, thus alluding to her function as Mother, while the color combination of the robe and the cloth resting on the broken column refer to the Tricolor, the national banner adopted since 1797 with the Cispadane Republic until it became one of the most important symbols of the Risorgimento and the Unification of Italy. The warrior holds an oak branch in her right hand, a reference to the military valor that the nation is ready to employ for its redemption, while the broken column commemorates those who have fallen for the homeland. A typical Veneto landscape unfolds in the background, reminiscent of the lagoon tradition in the shading and clear, smoky skies of Bellini and Titian, exhibiting a remarkable formal elegance and refined chromatics of 16th-century Venetian taste. The definition of this subject, which interprets the allegorical figure of Venice from a Risorgimento perspective, took place starting with the uprisings of 1848, in which the city had the brief but intense experience of the Republic of St. Mark, formed by Daniele Manin in an anti-Austrian function and later approaching annexation to the Kingdom of Sardinia, which then took place after the Third War of Independence with the plebiscite of 1866. During these years, Casa developed lithographs and engravings, preserved today at the Institute for the History of the Italian Risorgimento in Rome, in order to praise the patriotic heroes and martyrs who fought to gain independence from the Habsburgs and annexation to the Savoy kingdom, thus succeeding in reworking Venetian symbols from a patriotic and fusion perspective with the future Kingdom of Italy.
His youthful experiences, both artistic and otherwise, helped solidify Casa's ideas: as a painter he trained at the Venice Academy, Giacomo Casa was a pupil of Molmenti, who contributed to the development of his rare talent and distinct personality. In his early twenties, he participated in the Venetian revolutionary uprisings between 1848 and 1850. He visited Padua, Naples, Rome, Pompeii, Catania and had experiences abroad, in the East, Paris and London, where he stayed for a few years. In 1883, he returned to Italy for good and settled in Rome.
Right from the start his creations found appreciation, as evidenced by his participation in numerous exhibitions: after the uprisings of '48 he took part in the Venetian exhibitions, in 1861 he presented himself with Episodio dei Promessi Sposi while in 1862 he proposed Diluvio Universale and La beneficenza. At the First Italian Exhibition in Florence in 1861 he exhibited his best-known work, Michelangelo directing fortification work in Florence.
The Casa was also a skilled and in-demand fresco painter, one recalls his works executed during the 1850s in Venice alongside L. Cadorin (Caffè delle Nazioni, 1857; Caffè Florian, 1858; Caffè Quadri, 1859; Palazzina Foscari; Palazzina Gattei Nardi, 1864; interventions in the Royal Palace and in Palazzo Papadopoli in Santa Marina). In 1884 he was commissioned to decorate the Verdi Theater in Padua, where he intervened in the ceilings of several rooms with allegorical depictions. He worked at the church of the Filippini in Chioggia; he was active not only for the Venetian churches of San Moisè and Santa Maria Formosa but also for the Apollonian halls of the Teatro La Fenice in Venice.
In easel painting he also treated Orientalist themes that contributed to his notoriety (Mercato orientale, 1885, Venice, Galleria d'Arte Moderna di Ca' Pesaro). His works, mostly genre and historical subject paintings, e.g., Venice welcomes Victor Emmanuel II, are preserved in the Museums of Udine, Padua, Bassano, and the Museum of Modern Art in Venice.
- Creator:Giacomo Casa (Conegliano, 1827 - Roma, 1887) (Italian)
- Creation Year:19th Century
- Dimensions:Height: 19.69 in (50 cm)Width: 15.75 in (40 cm)
- More Editions & Sizes:50x40Price: $6,850
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216356232
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