18th-19th Century Interior of the Church Painting Oil on Canvas

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18th-19th Century Interior of the Church Painting Oil on Canvas

About the Item

Attr. to Giovanni Migliara (Alessandria, 1785 - Milan, 1837) Interior of the church: the arrest of the nun of Monza Oil on canvas, 79 x 61 cm With frame 104 x 85 cm The painting in question can be attributed by subject and definition to Giovanni Migliara (1785 - 1837), a painter originally from Alessandria. His training was particular and eclectic. The son of a cabinetmaker, he was in the workshop of the sculptor Luigi Zuccoli in Milan between 1801-02. In the same period he attended the Brera Academy and from 1804 he also worked as a set designer in the studio of Gaspare Galliari. Some of his scenographic studies, preserved in the Pinacoteca di Alessandria or the Galleria d'Arte Moderna in Turin, denote influences by Galliari, heir to the Juvarra tradition, to which he added picturesque features, of neoclassical taste. In the same years he began to devote himself more and more to painting, creating works of small format. In 1812 he presented to the Brera exhibition four views of Milan and two ideal compositions which immediately met with considerable success. His first production is inspired by the whims of Venetian taste of the eighteenth century. In 1813 he published a Treatise on Descriptive Geometry. From 1815 he was also interested in the engraving technique, lithography and the practice of illustration. In 1817 he exhibited three works at the Paris Salon and presented, for the first time, a monastic interior in Brera, a subject that would be very successful and repeated several times. Between the second and third decade of the nineteenth century it established itself in the cultural environment of romantic Milan, with a new genre consisting of the perspective representation of urban monuments and monumental interiors, of small dimensions. Particularly appreciated painter in 1825 refused the chair of Brera, for too many commitments and in 1833 he was appointed genre painter of the king of Sardinia. The Migliara straddles neoclassicism and romanticism. His taste, in fact, moderately neoclassical does not prevent him from anticipating romantic elements, creating in his works an original and particular kind of painting. These small paintings "to look closely" guaranteed the artist from the very beginning, the favor of critics and a cultured public who collected them as small precious objects, destined to furnish studios and cabinets. Migliara, in his works, loved to introduce some clues that allowed the public to identify the place represented, without renouncing the insertion of details of the imagination. The refined luministic rendering of the painting helps to restore the suggestion of the environment, all played on the intense contrast between the large shaded areas in the foreground and those hit by the sun's rays that filter through the round openings of the dome and above all from the lunette on the right. The highly refined miniaturistic technique, the elegant luminism and the subject that distinguish the work, are drawn from the Flemish artistic tradition, mediated through more modern stylistic elements. One of its convent interiors is kept at the Gallerie d'Italia in Milan while a view of the Cloister of the Certosa is kept at the Museum of Santa Giulia in Brescia. the elegant luminism and the subject that distinguish the work are drawn from the Flemish artistic tradition, mediated through more modern stylistic elements. One of its convent interiors is kept at the Gallerie d'Italia in Milan while a view of the Cloister of the Certosa is kept at the Museum of Santa Giulia in Brescia. the elegant luminism and the subject that distinguish the work are drawn from the Flemish artistic tradition, mediated through more modern stylistic elements. One of its convent interiors is kept at the Gallerie d'Italia in Milan while a view of the Cloister of the Certosa is kept at the Museum of Santa Giulia in Brescia. The choice to represent a particular moment of action, the arrest of the nun of Monza, makes the canvas even more interesting. Marianna de Leyva (1575 - 1650), the nun of Monza, the protagonist of a famous scandal at the beginning of the 17th century, was made famous by Alessandro Manzoni's betrothed. Orphaned by her mother, at the age of thirteen she was forced to enter the Monzese monastery of Santa Margherita. Thanks also to the complicity of some nuns, following a clandestine relationship with Gian Paolo Osio, whose house overlooked the gardens of the monastery, he had two children. When a nun seemed intent on revealing everything, Osio killed her, along with another witness. Cardinal Federico Borromeo, however, started an investigation that led to the arrest of the nun and her confession. She was sentenced to live in a walled cell, not even four square meters. In 1622, after fourteen years spent like this, Cardinal Borromeo granted her forgiveness; returned as a nun, she chose to stay with the Convertite di Santa Valeria, in Milan, where she had spent her sentence.

Dimensions:
Height: 40.95 in (104 cm)Width: 33.47 in (85 cm)Depth: 1.97 in (5 cm)
Materials and Techniques:
Canvas,Hand-Painted,Oiled,Painted
Place of Origin:
Italy
Period:
Late 18th Century
Date of Manufacture:
18th-19th Century
Condition:
Refinished. Wear consistent with age and use. The painting has been cleaned.
Seller Location:
Milan, IT
Reference Number:
1stDibs: LU5918226733782