19th century, Four neoclassical landscapes

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About the Item

Neoclassical painter, 19th century Four landscapes (4) Oil on panel, 36 x 48 cm Framed, 51.5 x 63 cm Dreamlike landscapes and natural ecstasy persisted in the neoclassical collective imagination as a favorite architectural backdrop. The monuments variously surveyed by the artists, who were always ready for the refinement of imagination, also had as their boast the charm of classical myth, plucked in full force and converted to visual narrative. In the present group of paintings, the gentle cadence of the panorama, which is enriched by the different daylight, introduces the more poetic sentimentality of neoclassicism, highlighted by the sacred lens chosen by the artist to analyze the various moments. The formal and dispositional choice of the number four, given the careful neoclassical climate that sought the scientificity of classicism, then manifests the meaning inherent in the present paintings. In art history, the number four fits recurring iconographies. The four natural elements become, for example, a pretext for highlighting the activities of man, as happens in the series of canvases executed by Vincenzo Campi and now housed in Milan's Brera Art Gallery. Because of the attributes uprighted by the characters represented, it is possible to isolate the respective reference element: The fruit seller, exhibiting the abundance of fruits and vegetables, exacerbates the fruitfulness of the earth. Whereas in the Chickenkeepers it is possible to recognize the action of air instead, because of the animals being manifested, in the Fishkeepers water is inherent. Finally, in the Nordic Kitchen at which a lively conglomeration of actors close to the most characteristic actions is intent, the element of fire is recognized in passing. The Bassano family, promoters of concerted compositions, certainly picked up the example of Jacopo (1510-1592) in the tireless repetition of the Seasons, always enriched with new elements. The series now attributed to Jacopo and housed at the Galleria Borghese in Rome highlights human survival during each season with slow pacing. The four cardinal virtues, on the other hand, constitute, together with the three theological virtues, the ethical summa desirable by man. The number four refers to humanity and, therefore, the same virtues are acquirable by all believers. Sandro Botticelli (1445-1510) represented them in female forms, with hieratic power: Prudence, Justice, Fortitude (Florence, Uffizi Galleries). Equally thought to be only four because of mythico-religious beliefs that were going to condition exploration, the continents of the known world were stigmatized by Giambattista Tiepolo (1696-1770) within a majestic fresco executed for the Staircase of Honor in the residence of the Prince-Bishop of Würzburg. The generous details accompanying each personification allow America, Asia, Africa, and Europe to be easily recognized. Not least, the four evangelists owe their number to their metaphorical association with the four corners of the earth. The action of their apostolate, extendable Urbi et orbi, was related to the Old Testament tetramorph, as evidenced by the paintings of Nicola Grassi (1682-1748), now kept within the parish church of Ampezzo.

Dimensions:
Height: 18.9 in (48 cm)Width: 14.18 in (36 cm)Depth: 0.79 in (2 cm)
Style:
Other (In the Style Of)
Materials and Techniques:
Canvas,Oiled
Place of Origin:
Italy
Period:
19th Century
Date of Manufacture:
19thC
Condition:
Seller Location:
Milan, IT
Reference Number:
1stDibs: LU5918242666592

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