Circle of Giovanni Benedetto Castiglione "A Sacrifice to Priapus"
Giovanni Benedetto CastiglioneCircle of Giovanni Benedetto Castiglione "A Sacrifice to Priapus"Circa 1640
Circa 1640
About the Item
- Creator:Giovanni Benedetto Castiglione (1609 - 1609, Italian)
- Creation Year:Circa 1640
- Dimensions:Height: 18.9 in (48 cm)Width: 25.2 in (64 cm)Depth: 3.75 in (9.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Fair to good condition. The work presents well although paint is thin in areas. The work has been relined. Appears to be the original stretcher. Could benefit from a clean and re-varnish.
- Gallery Location:Pymble, AU
- Reference Number:1stDibs: LU97713099373
Giovanni Benedetto Castiglione
Giovanni Benedetto Castiglione was profoundly influenced by foreigners. He first studied with local artists in his native Genoa, absorbing not only Tuscan Mannerism and Caravaggism but also the style of Peter Paul Rubens, who had worked in Genoa. From 1621, Castiglione also worked in Anthony van Dyck's Genoa studio. Early on, he was attracted to Flemish animal painting. Though he painted portraits, historical pieces and landscapes, Castiglione excelled in rural scenes with animals and influenced Italy's animal painting specialists. By 1634, Castiglione was in Rome, where he remained for about ten years. After returning to Genoa for a time, he worked for the Mantuan court in 1648, which had also employed Rubens. There Castiglione picked up the freedom of touch he saw in Domenico Fetti's paintings. One of the first Italians to appreciate Rembrandt van Rijn's etchings, Castiglione probably invented the monotype. Also admired for his fluent brush drawings in oil on paper, Castiglione influenced artists throughout Europe and virtually every Italian printmaker who followed. Despite his easy-going nature, his last works were intense, ecstatic compositions, reminiscent of Gian Lorenzo Bernini's contemporary style.
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Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. 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During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. 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