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Giovanni Stanchi
Immaculate Madonna within garland painting Giovanni Stanchi and Girolamo Pesci

$13,112.87
£9,728.49
€11,000
CA$17,952.17
A$20,112.23
CHF 10,468.40
MX$244,928.46
NOK 133,353.42
SEK 125,581.29
DKK 83,755.87
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About the Item

Giovanni Stanchi (Rome, 1608 - 1675) and Girolamo Pesci ( Rome 1679 - 1759) Immaculate Madonna within floral garland Oil on canvas, cm 95 x 72 Frame, cm 106 x 83 Expert opinion of Prof. Emilio Negro The present painting is the result of a happy collaboration between two painters: the first author of the religious image, the other of the garland of fresh flowers, the real star of the painting. The figure depicted is an Immaculate Conception, the dogma, that is, the truth of faith, whereby Our Lady was "untouched" by original sin, she was preserved by it from the first moment of her conception. In the center of the composition therefore, Our Lady is surrounded by golden clouds and enveloped in a divine light; clad in a white robe and blue mantle, she opens her arms in prayer, offering her eyes toward heaven while resting her feet on a half-moon, an iconographic symbol often found in Immaculate Conceptions. Along with her are a pair of angels and a pair of cherubim. The figure by stylistic references can be related to the hand of the painter Girolamo Pesci (Rome 1679 - 1759) who became a member of the prestigious congregation of Roman painters called de Virtuosi al Pantheon" managed to distinguish himself among the exponents of the school of Maratta. He was later seduced by Trevisani's style, which would mark his art in lightness, expressive delicacy, and a distinct taste for shaded and pearly colors-a deference to the Venetian colorism typical of Trevisani. This Immaculate Conception may in fact be related to the Eucharist of the Virgin from the Church of St. Joseph at the Lungara, the Ecstasy of St. Francis from the Civic Museum in Rieti, but also the Ascension of the Virgin from the Church of St. Mary Magdalene in Rome. Instead, the garland is without any doubt attributable to the hand of Roman painter Giovanni Stanchi (Rome, 1608 - 1675). The author, who distinguished himself among the best naturamortists active in Rome during the Baroque age, founded a workshop in which his brothers Angelo and Nicolò would work, demonstrating a synergy of purpose and an extraordinary consistency of quality. The Stanchi and their paintings were sought after by the most important families of the Roman aristocracy, from the Colonna to the Chigi to the Rospigliosi, and present since the end of the century in the Medici collections. Extremely varied in type but stylistically consistent, the production of the Stanchi can be divided according to the subjects proposed: first of all, the garlands, of which the proposed canvas is a fine example, related to the Flemish model made famous in Rome by Daniel Seghers, and probably largely referable to Giovanni. In particular, the present one can be related to the Vase of Flowers, Putti and Little Bird and the Garland of Flowers of Palazzo Colonna (paintings on mirror whose figures are made by Carlo Maratta), the Garland of Flowers and Butterflies of the Pinacoteca Nazionale di Bologna and the Still Life with Glass Ampoule and Fruit Basket of Galleria Pallavicini but also the festoon of flowers of the Musée des Beaux-Arts, Nantes and the garland of the Museum of Still Life of Poggio a Caiano In these paintings there is the same bright and whimsical painting, made by strokes of light, characteristic of paintings executed in the years of the master's full artistic maturity. Among the flowers represented are tulips, roses, and anemones that seem to have symbolic meaning: they are metaphors for the transience of life and earthly beauty, which, like flowers, wither slowly.
  • Creator:
    Giovanni Stanchi (1608 - 1675, Italian)
  • Dimensions:
    Height: 41.74 in (106 cm)Width: 32.68 in (83 cm)
  • Medium:
  • Period:
  • Condition:
  • Gallery Location:
    Milan, IT
  • Reference Number:
    1stDibs: LU2639213034372

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