ART 4 2-DAY 04 March v.10.20
Died on 04 March 1766: Jacques-André-Joseph
“le Camelot” Aved (or Avet) le Batave,
French collector and painter specialized in portraits,
born on 12 January 1702.
— His father, Jean-Baptiste Havet, a physician of Armenian origin, died when Aved was a child. He was brought up in Amsterdam by his step-father, a captain in the Dutch Guards. At 16 he is said to have become a peddler or ‘camelot’ (hence the nickname given to him by his French acquaintances) traveling through the Netherlands, drawing portraits at fairs. In 1721, after spending short periods in the Amsterdam studios of the French engraver Bernard Picart and of the draftsman François Boitard [1652–1722], he left the Netherlands to work in the Paris studio of the fashionable portrait painter Alexis-Simon Belle. At this time he met other notable painters including Carle Vanloo and the portrait painters Maurice-Quentin de La Tour, Jean-Baptiste Perroneau, and Jean-Étienne Liotard. He also formed a deep and lasting friendship with Jean-Siméon Chardin, with whom he may have collaborated on occasion; they used similar techniques, and he may have encouraged Chardin to turn from still-life painting to figure painting in the 1730s.
— If his father hadn't died when he was a child, Jacques-André-Joseph Aved might never have seen Dutch art. After his mother remarried a captain in the Dutch guards, the family left France for Amsterdam. Aved's exposure to Dutch art led to his development of the "psychological portrait." This innovation signaled a shift away from the mythologizing style of contemporaries like Nicolas de Largillière. By the age of sixteen, Aved was a camelot, or peddler, traveling through the Netherlands drawing portraits at fairs. After short stints in the Amsterdam studios of French artists, he arrived in Paris at nineteen. Working in a fashionable portrait painter's studio, Aved met Maurice-Quentin de La Tour, Jean-Baptiste Perroneau, and Jean-Étienne Liotard. Most important, he began a long, cherished friendship with Jean-Baptiste-Siméon Chardin. Together they shared the goal of capturing "truth" rather than depicting surface appearances alone. Many of Aved's portraits were attributed to Chardin during the 1800s. As a Parisian, Aved became a successful and independent artist, a member of the Académie de Peinture, and one of the foremost connoisseurs of his day. He owned a large, important collection that included paintings by or attributed to Rembrandt van Rijn, Gerrit Dou, Nicolaes Berchem, Anthony van Dyck, Domenichino, Tintoretto, Guercino, Claude Lorrain, Nicolas Poussin, and others, along with an extensive collection of Rembrandt etchings.
Madame Crozat (1741; 70kb)
— Count Carl Gustaf Tessin [1695-1770] (367x286pix, 34kb)
— Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (1740; 380x283pix, 23kb)
— Marc de Villiers, Secrétaire du Roy (1747, 147x115cm; 479x374pix, 46kb) _ Aved created a sense of immediacy by depicting Marc de Villiers leaning slightly forward while fixing the spectator with an intense gaze. Behind him an ornate desk is covered with parliamentary and state papers. Grasping the arm of the chair as if about to rise, Villiers holds a copy of Homer's Iliad in his right hand, giving the impression that he has been interrupted while reading. By appearing in his study and in casual dress, the sitter presents himself not only as a high-ranking official but also as a gentleman scholar.
Born on 04 March 1756: Sir Henry
Raeburn, Scottish painter specialized in Portraits
who died on 08 July 1823.
Raeburn was born in 1756, in Edinburgh, was orphaned, educated at Heriot’s Hospital in Edinburgh, and brought up under the general supervision of his elder brother William. In 1772, he was apprenticed to James Gilliland, an Edinburgh goldsmith. While he was still an apprentice he began to paint miniatures, first in watercolors, then in oils.
In 1780, he married Anne Leslie, widow of Count Leslie, who was 12 years his senior and the mother of 3 children. In 1782, he joined the class under the supervision of Alexander Runciman. In April 1784 he left Edinburgh for Italy, where he stayed until 1887.
On his return he settled in Edinburgh, and soon attained pre-eminence among Scottish artists. He was knighted by George IV in 1822, and appointed king’s limner for Scotland a few days before his death. His style was to some extent founded on that of Reynolds, but his bold brushwork and brave use of contrasting colors make his works original. Among his sitters were the writer Sir Walter Scott, philosopher Hume, songwriter and printer Boswell, critic and essayist John Wilson and other outstanding men of Scotland.
Born in Stockbridge, near Edinburgh, the second son of a mill owner, Raeburn was orphaned at the age of six. His brother placed him in George Heriot's hospital (a home for orphans) in 1765, where he received a classical education and learned the rudiments of gentlemanly behavior. From 1772 to 1778 he was apprenticed to James Gilliland, a goldsmith and jeweler, and began to paint miniatures. Largely self-taught as an artist, without formal classes in drafsmanship or anatomy, he may have received some instruction from David Deuchar, an engraver and etcher. His first known attempt at full-scale portraiture is George Chalmers (1776). In 1784, shortly before Raeburn left for Italy, he met Sir Joshua Reynolds, who gave him introductions to Pompeo Batoni and Gavin Hamilton. While the Roman experience left little mark on his work, Raeburn was impressed by the sculpture he viewed and may have been inspired also to a fuller use of color and chiaroscuro.
He returned to Edinburgh at the age of thirty to become its leading portraitist. He visited London in 1819 to determine the feasibility of establishing a studio there, but the keen competition persuaded him to return to Edinburgh. There he worked in comparative isolation from the changing fashions in London, although he exhibited at the Royal Academy from 1792 to 1823. President of the Society of Scottish Painters in 1812, Raeburn was appointed King's Limner and Painter for Scotland in 1823, the year he died.
Leading Scottish portrait painter during the late 18th and early 19th centuries. In about 1771 Raeburn was apprenticed to the goldsmith James Gilliland and is said to have studied with the Edinburgh portrait painter David Martin briefly in 1775. But for the most part Raeburn was self-taught, progressing from miniature painting to full-scale portraiture. A portrait of George Chalmers (1776) is Raeburn's earliest known portrait, and its faulty drawing and incorrect perspective suggest the artist's lack of formal training. By his marriage to a wealthy widow in 1778, he achieved financial security, and during the next four years he considerably improved his artistic skill. In London in 1785, while en route to a tour of Italy, he met Sir Joshua Reynolds, whose works were already familiar to him from Scottish collections and engravings.
A man of many interests and a good conversationalist, Raeburn became a popular member of the new cultured Edinburgh society. By about 1790 he had painted the portrait of his wife and the double portrait of Sir John and Lady Clerk, in which the artist experimented with unusual lighting from behind the sitters' heads. During the following decade Raeburn produced some of his most brilliant portraits, such as Sir John Sinclair (1795), which foreshadowed the MacNab (1813), in which tonalities became darker and lighting more contrasted.
The Binning Children (1811)
The Reverend Robert Walker Skating on Duddlingston Loch (1795)
Lieutenant Colonel William Shirriff H.E.I.C.S.
Sir John Sinclair (1795, 238x154cm)_ Raeburn, the leading Scottish portrait painter of his period, painted directly on to the canvas without preliminary drawings, and his vigorous, bold handling - sometimes called his 'square touch' - could be extraordinarily effective in conveying the character of rugged Highland chiefs.
on 04 March 1916: Franz Marc, born on 08
February 1880, German Expressionist
painter, specialized in Animals,
is killed fighting in WW I, near Verdun.
— He decided to become a painter in autumn 1900, after initially intending to study philosophy and theology. He began his training at the Akademie der Bildenden Künste in Munich under Gabriel von Hackl  and Wilhelm von Dietz  and worked in the style of Munich landscape painting. His early Portrait of the Artists Mother (1902) reveals in its form and construction that he already possessed an astonishing mastery of traditional artistic means. From summer 1902 onwards, increasingly self-taught, he worked at Kochel in Upper Bavaria, often on the alpine slopes of the Staffelalm. In May 1903, thanks to his excellent command of French (his Huguenot mother came from Alsace), he accompanied a friend on a study trip to Paris. On his return to Munich he gave up his studies at the Akademie. In his studio in the Kaulbachstrasse he devoted himself primarily to illustrations of poems by Richard Dehmel, Carmen Sylva, Hans Bethge, and others, which were published posthumously by Annette von Eckhardt in 1917 in Munich under the title Stella Peregrina.
Marc was born in Munich. He studied at the Munich Art Academy and traveled to Paris several times where he saw the work of Gauguin, Van Gogh, and the Impressionists. With Kandinsky, he founded the almanac Der Blaue Reiter in 1911 and organized exhibitions with this name. He was a principal member of the First German Salon d'Automne in 1913. At the beginning of World War I, he volunteered for military service and he died near Verdun, France, on 04 March 1916. Franz Marc was a pioneer in the birth of abstract art at the beginning of the twentieth-century The Blaue Reiter group put forth a new program for art based on exuberant color and on profoundly felt emotional and spiritual states. It was Marc's particular contribution to introduce paradisiacal imagery that had as its dramatis personae a collection of animals, most notably a group of heroic horses. Tragically, Marc was killed in World War I at the age of thirty-six, but not before he had created some of the most exciting and touching paintings of the Expressionist movement.
— Marc has become the most popular of all the German Expressionists, because of his eloquent and touching letters and because he found a way of giving a new and modern aspect to the style of the German Romantic painters, such as Runge, Friedrich, Kobell, Blechen, Rethel, and Schwind, all of whom he admired.
Marc was born in Munich. His father, Wilhelm Marc, was a professional landscape painter. His mother, a strict Calvinist, came from Alsace, but had been brought up in French speaking Switzerland. Marc himself was a serious child, perhaps because of the repressive influence of his mother. In high school, his plan was to read theology, but he eventually enrolled at Munich University as a student of languages. In 1900, however, when his year of military service was over, he decided to follow in his father's footsteps and become a painter. He enrolled at the Munich Academy of Art.
In 1903, the first stage in his training completed, Marc went to Paris, where he spent several months, also visiting Brittany. He was greatly excited by his discovery of the Impressionists at the Durand Ruel Gallery and in letters home proclaimed them to be 'the only salvation for us artists', but they made little visible impact on his work. When he returned home he entered a state of deep depression with an 'anxiety that numbed the senses'. This was temporarily cured by a trip which he made to Salonika and Mount Athos in the spring of 1906, accompanying his brother, who was making a study of Byzantine manuscripts, but returned as soon as he got back to Paris. He tried to alleviate his condition by drowning himself in his work, but knew he was getting nowhere. He also got engaged to be married, which he regretted, and only disentangled himself by running away to Paris the day before the marriage ceremony, at Easter 1907.
Once back in Paris, he was again entranced by the Impressionists. In a prophetic metaphor he said that he walked among their paintings 'like a roe deer in an enchanted forest, for which it has always yearned'. He also discovered the work of Gauguin and Van Gogh, and was impressed by the latter in particular. He declared that his own 'wavering, anxiety ridden spirit found peace at last in these marvelous paintings'. It was at this period that he began the intensive study of animals which was to lead to his mature style. He said that he wanted to recreate them 'from the inside', and made himself so complete a master of animal anatomy that he was able to give lessons in the subject, in order to earn some money. Though he felt he was now making some progress, he destroyed his more ambitious works, as they continued to dissatisfy him. In December 1908 he wrote a letter to Reinhart Piper:
I am trying to intensify my feeling for the organic rhythm of all things, to achieve pantheistic empathy with the throbbing and flowing of nature's bloodstream in trees, in animals, in the air.
The year 1910 was a significant turning point. In January he met August Macke, a painter seven years younger than him, but who seemed extremely sophisticated and well informed. Through Macke he learned something of the Fauves, and the following month was able to see what they were doing for himself, thanks to a Matisse exhibition in Munich. Macke also introduced him to the collector Bernard Koehler, who happened to be the uncle of Macke's wife. Koehler liked his work, and offered him a monthly allowance, which removed the worst of his financial worries. In September Marc defended the exhibition of the Neue Kuenstlervereinigung, which was being attacked by the local Munich critics, and was offered membership of the group as a result. He did not, however, meet Kandinsky, its leading spirit, until February 1911. By that time he had formed his own set of artistic principles, which were a mixture of Romanticism, Expressionism and Symbolism. In December 1910 he wrote a famous letter to Macke, assigning emotional values to colors:
Blue is the male principle, astringent and spiritual. Yellow is the female principle, gentle, gay and spiritual. Red is matter, brutal and heavy and always the color to be opposed and overcome by the other two.
In 1911 he found himself ready to embark on the series of paintings of animals which have since been the cornerstone of his reputation. And in December, after a split in the Neue Künstlervereinigung, organized the first Blaue Reiter (Blue Rider) exhibition. Formerly so ineffective and depressed, Marc had now become a most efficient organizer, and it was he who persuaded the publisher Reinhart Piper to bring out Kandinsky's fundamental text, On the Spiritual in Art, and he also played a leading part in the creation of the Blaue Reiter Almanach and the organization of a second and more ambitious Blaue Reiter show in 1912. In 1913 he took an important role in selecting and hanging Der Sturm's First Autumn Salon in Berlin, and noted how many of the exhibitors were veering towards abstraction. This confirmed his feelings which had begun to emerge when he and Macke went to Paris to visit Delaunay in 1912, and saw some examples from the latter's Window series. By the spring of 1914 Marc's own work had become abstract.
This promising career was cut short by the war. Marc was mobilized and wrote numerous letters home from the Front, expounding his aesthetic philosophy, and kept a notebook with drawings for the paintings he would create as soon as he was free to do so. But he was denied the opportunity he hoped for. In March 1916 he was killed instantly when he was struck in the head by a shell splinter.
— Rote Rehe 2 (1912; 600x892pix _ ZOOM to 1400x2081pix)
— Die Tierschicksale (600x443pix _ ZOOM to 1400x1033pix, 253kb)
— Ruhende Kuhe aka Kauernder Steir (1911)
— 2 Pferde (1913)
— Drei Pferde II kleinerer Fassung (1913; 600x824pix)
Dog Lying in the Snow (1911, 62x105cm)
on 04 (05?) March 1825: Raphaelle Peale,
US painter, specialized in Portraits, Still
Life and Trompe
L'Oeil, born on 17 February 1774, eldest surviving son of Charles
Willson Peale, [15 Apr 1741 22 Feb 1827] and Rachel
Brewer Peale [14 May 1744 – 12 Apr 1790]; brother of Rembrandt
Peale [22 Feb 1778 03 Oct 1860], Rubens Peale [04 May 1784
– 17 Jul 1865], Angelica Kauffman Peale [22 Dec 1775 – 08 Aug
1853], Rosalba Carriera Peale [25 Oct 1788–], Sophonisba Angusciola
Peale Sellers [24 Apr 1786 – 26 Oct 1859]; half-brother of Titian
Peale [Nov 1799 – 13 Mar 1885], Charles Linnaeus Peale [20 Mar
1794 – 22 May 1832], and Benjamin Franklin Peale [15 Oct 1795 –
05 May 1870]; nephew of James
Peale [1749 24 May 1831].
— He was taught painting by father, whom he assisted in the art and natural history museum CWP established. Raphaelle began to paint portraits professionally in 1794, but poor patronage in Philadelphia forced him to travel in the South and New England, taking silhouettes with the physiognotrace and painting portraits in oil and miniature. From about 1815 onwards, bouts of alcoholism and gout inhibited his progress. He turned to painting still-lifes, but these sold for small amounts. The need to travel weakened an already debilitated constitution and contributed to his early death, due also to poisoning by heavy metals.
— His father, Charles Willson Peale, was a prominent Philadelphia citizen and something of an eccentric. A painter and naturalist, a friend of Benjamin Rush, and an ardent advocate of temperance and diet ("water and simple foods," including soups, boiled fish and meat, fruit, vegetables), Charles Willson Peale named each of his children for a scientist or painter (except the youngest, Elizabeth Depeyster Peale [16 Apr 1802 – 25 Jul 1857],who was named for her mother, Peale's second wife, Elizabeth De Peyster Peale [10 Jul 1765 – 19 Feb 1804]) and then expected them to emulate, if not, indeed, surpass their namesakes. Raphaelle was the greatest of them all but was in his father's eyes a miserable failure, personally and professionally.
Raphaelle Peale was a painter of still lifes, the first professional still-life painter in the US and still one of its finest. All told, he left some 70 works, many painted under extreme conditions of recurrent acute and chronic illness. Charles Peale, on the other hand, regarded still-life painting as little more than a mechanical skill; he constantly urged his son to abandon it in favor of portrait painting, which was not only a higher calling but more lucrative. In an irrefutable example of parental logic, he reasoned that if Raphaelle spent less time on each individual still life, he could either produce them in greater quantity or produce the same quantity but have time remaining for portraits. Either way, his son's income would be increased. Raphaelle stayed with still lifes.
An especially fine example of Raphaelle's work is Still Life--Strawberries, Nuts, etc. (cover) painted in 1822, three years before his death. It is flawless in composition, meticulous in execution, a gem of porcelain, glass, filberts, almonds, raisins, strawberries, and a single orange. Although he sometimes painted the more mundane foods such as herring, root vegetables, cheese, and meat, Peale preferred the dessert pictures, elegant little compositions of sweets, cakes, jellies, fruit, nuts, and, often, a glass of wine. He was a master of wit. A partially peeled orange was a pun on the family name. A white linen napkin became a painting of another artist's nude. He could also be sober. Strawberries, Nuts, etc. presents an enigma, this time one of science. The painting is no casual arrangement of fruit gathered from the market but is in fact a horticultural painting. To a 20th-century viewer, this would not perhaps be obvious, but to an early 19th-century Philadelphian, the inclusion of spring and autumn and out-of-locale fruits meant that this work was a marvel of science as well as of art. The fruit is not wild. It is the result of one of Charles Willson Peale's scientific endeavors and has been cultivated as carefully as he tilled the soil of his children's lives.
Raphaelle died at the age of 51. The official cause of death was “consumption.” The cause commonly accepted for many years, based on his father's letters to Raphaelle, was alcoholism. It was an easy enough inference: the letters were filled with continual remonstrances and recriminations, urging temperance and blaming his son's gout on self-indulgence. More recently, evidence has surfaced to suggest that Raphaelle died of heavy-metal poisoning, specifically arsenic and mercury poisoning. It was incurred, presumably, over the many years he worked in his father's taxidermy business.
— Venus Rising from the Sea, a Deception aka After the Bath (1823, 74x61cm) a hanging towel
— Still Life with Strawberries, Nuts, etc. (1822, 42x58cm)
Born on 04 March 1832: Samuel Colman,
US painter, interior designer, and writer, who died on 27 March 1920. —
Not to be confused with the English painter Samuel Colman [Sep 1780 –
21 Jan 1845]
— The US's Samuel Colman was a student of Asher Durand in New York City and from 1860 to 1862 studied in Spain, Italy, France, and England. In 1871–1876 he was again in Europe. With James D. Smillie, he founded the American Water Color Society (1866), becoming its first president. His own watercolor paintings are particularly fine. He was elected a member of the National Academy of Design in 1862. Among his works are The Ships of the Western Plains and The Spanish Peaks, Colorado. His landscapes of the early West remain popular.
— He grew up in New York, where his father, Samuel Colman, ran a successful publishing business. The family bookstore on Broadway, a popular meeting place for artists, offered Colman early introductions to such Hudson River School painters as Asher B. Durand, with whom he is said to have studied briefly around 1850. Having won early recognition for his paintings of popular Hudson River school locations, he was elected an Associate of the National Academy of Design in New York in 1854. Most of Colman’s landscapes of the 1850s, for example Meadows and Wildflowers at Conway (1856), reveal the influence of the Hudson River school. An avid traveler, he embarked on his first European tour in 1860, visiting France, Italy, Switzerland and the more exotic locales of southern Spain and Morocco. His reputation was secured in the 1860s by his numerous paintings of romantic Spanish sites, notably Hill of the Alhambra, Granada (1865, 121x184cm; 330x500pix, 38kb).
Solomon's Temple, Colorado (1888, 52x66cm)
— Spanish Peaks, Southern Colorado, Late Afternoon (1887, 79x183cm)
— Finish--First International Race for America's Cup, August 8, 1870 (1870, 77x153cm)
— Storm King on the Hudson (1866, 82x152cm) _ When paradise was invaded by men of commerce painters were left with a problem: what to do about the tanning factories, sawmills, paper factories, and the other small businesses that started to overtake the epic waterfalls and elegant forests along the Hudson. The debates we still have today about competing claims of preservation and development were already major issues in the mid-19th century. Colman gave equal exposure to both sides of the discussion by dividing his paintings neatly into halves. The right half features the mountain that was known to many as Butter Hill because of its soft, rounded shape. Today, we call it Storm King Mountain, a tribute to the frequent dark clouds that shroud its top. Colman gives nearly a third of the height of his canvas to these impressive clouds. Below the mountain is a vision of olden days just passing into history about the time of the Civil War. Small boats hug the shore, and in the foreground, three men fish with nets. It's clearly a family or local enterprise. The left half represents the industrial revolution. Giant commercial barges are linked together, their huge paddle wheels turned by coal-generated steam. Smoke stacks are at the center of this half of the composition, a threatening industrial parallel to the dark clouds over Storm King Mountain. The barges seem to bear down menacingly on the small fishing craft. The two halves, we realize, are tenuously linked underwater by the fragile nets of the fishermen. It is as if Colman already knew that the uneasy coexistence of these two ways of life in his own "present" would soon be severed into two very different worlds: past and future. By carefully arranging his picture as a double square, Colman keeps the debate about industry and nature in balance. Are the barges symbols of promise and progress, or are they destructive?
— a quite different Storm King on the Hudson (76x127cm) _ compare A View of Storm King on the Hudson by Francis Augustus Silva [1835 – 31 Mar 1886], and Storm King on the Hudson (315x549pix, 38kb) by Homer Dodge Martin [28 Oct 1836 – 12 Feb 1897].
— The Hill of the Alhambra, Granada (1865, 121x184cm)
— Tintern Abbey With Elegant Figures (87x117cm)
— Adirondack Twilight (1864, 38x61cm)
— Barnegat Bay at Sunset, Mantaloking, New Jersey (1914, 18x26cm)
— By the Woods (20x35cm)
— Ducks by a Pond (19x34cm)
— Lake Placid, Adirondacks (1869, 41x76cm)
— Spanish Market Place (1864, 51x43cm)
— Sunset, Seville
— Puebla, Mexico (1892, 19x39cm)
— Rocky Landscape (1888)
— View on the Hudson (1869, 38x76cm)
— The Hudson Highlands aka Hudson River Two and Barge (1867, 38x76cm)
— View from the Raymond Hotel, Pasadena (1888, 23x65cm)
— View of Alexandria (30x53cm)
— Yosemite Valley, California (24x38cm) _ compare View of Yosemite Valley (1871, 76x122cm), Yosemite Valley (1900, 76x117cm), Fishing on the Merced River, Yosemite Valley (1891, 91x137cm), and Grand Canyon of the Sierras, Yosemite (1871; 525x850pix, 127kb) by Thomas Hill [11 Sep 1829 — 01 Jul 1908] _ Yosemite Valley (1866) by Albert Bierstadt
Died on 04 March 1700:
Italian artist born on 04 September 1629.
La formazione di Pasinelli si svolse dapprima presso il pesarese Cantarini, e in seguito presso Flaminio Torri, col quale si manifestarono presto contrasti. Dalle opere dell'inizio degli anni '70, quali lo Svenimento di Giulia della Pinacoteca di Bologna, appare evidente l'innesto sul classicismo reniano di una forte impronta neoveneta, o per meglio dire neoveronesiana, che si manifesta attraverso l'uso di una materia rarefatta, ma di vibrante e raffinata cromia. La stesura sprezzante, a tocchi corposi di colore, si accentua nel decennio successivo, come dimostra la Sant'Orsola, anch'essa nella Pinacoteca bolognese. La poetica dell'artista, nella quale l'elegante e rapida condotta della pittura convive col registro languido e patetico dei sentimenti, si rivelera' fondamentale per la pittura bolognese a venire, in particolare per le importanti personalita' del Dal Sole e del Creti.
Amore disarmato dalle ninfe di Diana (118x157cm) Subito dopo la consegna del Miracolo di Sant'Antonio per la chiesa bolognese di San Francesco (oggi in San Petronio) il Pasinelli esegui' per il Senatore Francesco Ghisilieri un Amore disarmato dalle Ninfe di Diana.
Esposto dal proprietario nel cortile del suo palazzo in occasione della festa del Corpus Domini, il quadro suscito' molte critiche per l'uso eccessivo delle tonalita' rossastre. Piu' che alla tela dello stesso soggetto della collezione Claas di Londra, la descrizione del quadro Ghisilieri sembrerebbe meglio rispondere a questa tela di Modena per la patina dolcemente accaldata delle carnagioni e il timbro bruno dei colori.
Qualora se ne accetti l'identificazione col dipinto Ghisilieri, questo Amore disarmato sara' da datarsi dopo la pala del Miracolo di Sant'Antonio, che nel 1686 il Malvasia ricorda gia' presente in San Francesco. Esistono due copie della figura di Amore dormiente, una delle quali si conserva nel Museo Civico di Modena, l'altra in collezione privata.
Fanciulla con gabbietta vuota (74x54cm) La poetica immagine sottintende un delicato significato allegorico: l'innocenza della fanciullezza che, come un bene prezioso mal custodito, troppo presto e irrimediabilmente si perde.
Il soggetto e' tra quelli piu' divulgati dai generisti tra XVII e XVIII secolo, ma qui il tenue contenuto morale non altera la sincerita' davvero commovente della raffigurazione, cosicche' il dipinto conserva la freschezza del riporto diretto, nella tradizione dell'abbozzo dal vero inaugurata da Annibale Carracci.
Le connotazioni stilistiche rinviano pero' ad una datazione ben piu' avanzata rispetto ai modelli carracceschi ai quali la tela parrebbe ricollegarsi, toccando ormai l'ultimo quarto del secolo. In un primo tempo riferito a Francesco Stringa, il quesito attributivo e' stato risolto a favore di Lorenzo Pasinelli, anche se rispetto all'aulico accento che compone le immagini del pittore bolognese, questo dipinto sorprende per la bonarieta' della fanciulla, cosi' dichiaratamente umile e dimessa.
— Caritas Romana (1670; 595x480pix, 33kb)
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