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Repentance and Sacrifice of King David, Alberto Carlieri 'Rome 1672-1720'
Alberto Carlieri (Rome 1672-1720) The repentance and sacrifice of King David Oil on canvas, Measurements: with frame H 87 x W 64 cm - only square H 70 x L 47 cm Good storage conditions The pair of paintings depicts two architectural whims with glimpses of colonnades and arched buildings in suggestive ruin. The architectural caprice, an artistic genre that has made its way into Italian painting since the seventeenth century, is characterized by the depiction of fantastic architectures or inventions of a perspective type, sometimes combined with elements taken freely from reality. The two paintings belong to the genre of "Ruinism" and have a considerable artistic interest. The scenographic architectures are animated, in the foreground, by some figures. These are two scenes from the Bible, linked to a specific episode in the life of David, who, after a grave sin and following his sincere repentance, obtains divine forgiveness. In the first painting, in the lower center, King David, in a gesture of supplication, looks up and, repentant, implores the Lord asking forgiveness for his sins. Around him, a group of soldiers and women take part in the scene. David had led a census of the Jewish people to know the number (2 Sam 24, 2) and on that occasion he was exalted for the glory of his conquests. He therefore stopped looking at the people as a property of God and considered him the object of his strength and ambition. The Lord then, through the mouth of the prophet Gad, offered him three alternatives to purify himself from his sin: three years of famine, three months of flight before the enemy, three days of plague in the country. David chose the plague, but seeing the endless people he implored the Lord. In the second picture, on the right is depicted the altar on which is the sacrificial ox. David is begging before, hoping that his sacrifice will be received by God. Again through the Prophet Gad, in fact, God enjoined him to raise an altar and offer a sacrifice. David sacrificed the oxen and the scourge ceased (2 Samuel 24, 24b-25). In both paintings, the architectures of invention confer solemnity to the place; they create plays of lights and shadows and frame the scenes within a rocky and verdant landscape that fades to the horizon towards a blue sky marked by vaporous clouds and a pale light that recalls the gleams of dawn. The ruins of the building, perhaps a temple, are composed of powerful colonnades with entablatures decorated with composite Corinthian motifs; they are adorned with vertexes that grow at their summit that contribute to making them even more picturesque. The two paintings are attributable to the important Roman painter Alberto Carlieri and common stylistic motifs of his works can be found in them, such as the richness of the architecture and the fineness of the details, the remarkable mastery in the direction of the lights, the suggestive compositional provisions. The liveliness in the attitude of the figures is also characteristic, resolved with ease in the use of color, and harmoniously inserted in the architecture. Carlieri was born in Rome in 1672 and started studying architectural painting under the guidance of Giuseppe de Marchis. He became a pupil and then collaborator of Andrea Pozzo. Present in the most illustrious Roman collections, from the collection of Filippo II Colonna, Rospigliosi and Cardinal Valenti Gonzaga, Carlieri elaborates well-recognizable, influenced compositional models, as well as from the painting of the master also that of Viviano and Nicolò Codazzi. His pictorial activity can be followed through the signed works, around which it was possible to build a small catalog of canvases. The news on Carlieri and his signed or dated works climb between about 1690 and 1720. Nothing is known of the painter's life, which should have died in Rome shortly after 1720. Among the typical characteristics of Carlieri's style we point out the way in which the perspective develops in the distance: with light colors, cold shades and pastel shades. The artist's late works have decidedly clear tones and in this way they differ from the darker tones used by him previously. The element is indicative of the evolution of the taste of the era. The canvases can easily be compared with two paintings by Carlieri kept at the Walters Art Museum in Baltimore. Essential bibliography: P. A. Orlandi, Abecedario pictorial, Bologna 1704, p. 65; H. Voss, The Painter of Architecture, Aberto Carlieri, in The Burlington Magazine, CI (1959), pp. 443 s .; Ferdinando Arisi, Gian Paolo Panini and the glories of Rome in the '700, Rome 1986; Luigi Salerno, The painters of views in Italy (1580-1830), Rome 1991, pp. 53-55; David Ryley Marshall, Viviano and Niccolò Codazzi and the baroque architectural fantasy, Rome 1993; David Ryley Marshall, Giovanni Ghisolfi or the 'Monogrammist GAE' at Stourhead ?, in: The Invia commenti Cronologia Salvate Community.
- Place of Origin
- Date of Manufacture18th Century
- DimensionsH 34.26 in. x W 25.2 in. x D 2.37 in.H 87 cm x W 64 cm x D 6 cm
- Seller LocationIT
- Seller Reference NumberWe apologize for any translation errors in the English text. The paintings are accompanied by expertise in Italian.
- Reference NumberLU4405215984371
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