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Paolo de MatteisPaolo De Matteis (Piano Vetrale 1662 - Naples 1728), attr., Dream of JosephXVII Century
XVII Century
$8,537.66
£6,344.17
€7,200
CA$11,816.62
A$13,158.75
CHF 6,870.48
MX$159,442.66
NOK 86,644.07
SEK 81,755.51
DKK 54,822.10
About the Item
Paolo De Matteis (Piano Vetrale 1662 - Naples 1728), attr.
Joseph's Dream
Oil on canvas, 49 x 65 cm
Antique Roman frame known as "Maratta," of carved and gilded wood, 61 x 76 cm
In the Christian tradition, the episode of Joseph's dream is a significant event narrated in the Gospel of Matthew. It is a series of dreams through which Joseph, the husband of Mary, receives divine messages that guide his actions at crucial moments. In this particular episode the angel appears in flight pointing Joseph to the new way to escape King Herod's anguish as written in or Matthew (2:13). The stylistic and compositional construction undeniably harks back to Naples, particularly to one of the most celebrated painters of the 17th-century Neapolitan school-Paolo de Matteis.
The work turns out to be related to Jordanian manners, which influenced all artists of the time: for example, look at The Dream of Joseph in the Indianapolis Museum of Art, whose construction, with the angel in oblique flight and Joseph who slumbering holds his face with one hand undeniably refers back to our painting.
A pupil of Luca Giordano, De Dominici provides us with a detailed biography of Paolo de Matteis, from which it appears that "since his childhood years he showed himself inclined to painting, so that his father, in order to second his genius, took him to Naples where he went drawing in the churches the works of the most renowned masters of that time. But he was interrupted in this study by his father, who by the advice of friends wanted him to learn letters, as a ladder by which one ascends most happily to great honors. But after some time he begged his father to let him" return to painting. Around 1682, he went to Rome, where he met the painter Giovanni Maria Morandi, who introduced him to the lively artistic circle that was the Accademia di S. Luca, a true melting pot of moderate-Baroque experience along the lines of the dictates of the theorist Giovan Pietro Bellori and the painter Carlo Maratta. In Rome he observed and drew the works of the greatest Roman masters and probably came into contact with the large group of French artists in the city, who were aligned on the classicist front that united Rome and Paris at the time. In 1683 he returned to Naples and Giordano's school. The latter profoundly influences all of de Matteis' production, if not all of Naples. The Neapolitan city of the time was characterized by the coexistence of a Baroque language influenced at times by Cortona and the overcoming of naturalism toward a new style imported by Giordano himself. Indeed, the latter was the bearer of a dual matrix of experiences: on the one hand, the classicism of Poussin and P.F. Mola and on the other a more properly Baroque vision that drew on P. Berrettini, P. P. Rubens, and G. Lanfranco. In the art of De Matteis, who also distinguished himself among Giordano's pupils through numerous national and international commissions, a synthesis of the modes of the master and Maratta occurs, but he also does not lose sight of the works of Solimena or Cavaliere Calabrese Mattia Preti.
- Creator:Paolo de Matteis (1662 - 1728, Italian)
- Creation Year:XVII Century
- Dimensions:Height: 19.3 in (49 cm)Width: 25.6 in (65 cm)
- More Editions & Sizes:49x65 cm Price: $8,538
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216360322
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