Stephen Basso

garden variety nudes, narrative, surreal, whimsical, bright color, outsider

2008

Oil on canvas signed and dated on reverse. Part ot a human and animal series by the artist ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic...

An early experimental work by the artist it combines a loosely painted head combined with a hard sculptural body.

Oil on canvas heavy duty stretcher bars .Framing recommended but not wit. Signed and dated on reverse. Part of an ongoing series of mermaids by the artist.

One of a series on the myth of Orpheus and Eurydice. Here they make the treacherous climb out of the underworld: Now thro' the noiseless throng their way they bend, And both with pa...

Provenance: Santambrogio Antichità, Milan; sold, 2007 to: Filippo Pernisa, Milan; by whom sold, 2010, to: Private Collection, Melide, Switzerland De Primi Fine Art, Lugano, Switzerland; from whom acquired, 2011 by: Private Collection, Connecticut (2011-present) Literature: Ferdinando Arisi, “Ancora sui dipinti giovanili del Panini,” Strenna Piacentina (Piacenza, 2009): pp. 48, 57, 65, fig. 31, as by Panini Ferdinando Arisi, “Panini o Ghisolfi o Carlieri? A proposito dei dipinti giovanili,” Strenna Piacentina, (Piacenza, 2010), pp. 100, 105, 116, fig. 101, as an early work by Panini, a variant of Panini’s painting in the Museo Cristiano, Esztergom, Hungary. This architectural capriccio is one of the earliest paintings by Giovanni Paolo Panini, the preeminent painter of vedute and capricci in 18th-century Rome. The attribution to Panini has been endorsed by Ferdinando Arisi, and a recent cleaning of the painting revealed the artist’s signature in the lower right. Like many of his fellow painters working in Rome during his day, Panini was not a native of the Eternal City. He first trained as a painter and stage designer in his hometown of Piacenza and moved to Rome at the age of 20 in November 1711 to study figure painting. Panini joined the workshop of Benedetto Luti (1666-1724) and from 1712 was living on the Piazza Farnese. Panini, like many before and after him, was spellbound by Rome and its classical past. He remained in the city for the rest of his career, specializing in depicting Rome’s most important monuments, as well as creating picturesque scenes like this one that evoked the city’s ancient splendor. The 18th century art historian Lione Pascoli, who likely knew Panini personally, records in his 1730 biography of the artist that when Panini came to Rome, he was already “an excellent master and a distinguished painter of perspective, landscape, and architecture.” Panini’s earliest works from this period still show the evidence of his artistic formation in Piacenza, especially the influence of the view painter Giovanni Ghisolfi (1623-1683). However, they were also clearly shaped by his contact in Rome with the architectural capricci of Alberto Carlieri...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Artodyssey: "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with c...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...