Lot 1151

PITTORE LOMBARDO-EMILIANO DEL XVII-XVIII SECOLO

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MANIFATTURA DEL XVIII-XIX SECOLO A lacquered wood stool in Louis XV style, carved decorations with: A lacquered wood stool in Louis XV style, carved decorations with floral motifs, arched legs. . Cm 75,00 x 45,50 x 52,00.

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FERDINANDO SANFELICE (attr. a): (Napoli, 1675 ; 1748) Cena in Emmaus Olio su tela, cm 127X181,5 Bibliografia: Archivio Zeri, n. 52331 (come anonimo napoletano del XVII Secolo) Di carattere solimenesco, la tela in esame presenta una

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CARLO FRANCESCO NUVOLONE (attr. a): (Milano, 1608/1609 ; 1661/1662) Riposo nella Fuga in Egitto Olio su rame, cm 37X29 Provenienza: Milano, collezione privata Membro della dinastia di pittori che ebbe come capostipite Panfilo (Cremona,

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CONSOLE CON SPECCHIERA IN LEGNO DI NOCE, VENETO, METÀ: DEL XIX SECOLO in forma architettonica, colonne e fasce scanalate, due cassetti nel fronte e mensola di raccordo alla base, lo schienale con dipinto decorativo su tavola (non coevo) raffigurante natur

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TABACCHIERA IN PORCELLANA POLICROMA, MANIFATTURA DI: MEISSEN, METÀ DEL XVIII SECOLO di forma mossa e decorata con scene alla Watteau all'interno ed all'esterno, montata in oro; poche usure e graffi minori Alt. cm 3,6, larg. cm 6,8, prof. cm 4,9 A M

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PITTORE LOMBARDO-EMILIANO DEL XVII-XVIII SECOLO

Item Details

Description

Natura morta
Olio su tela, cm 90X170

Questa rigogliosa e decorativa composizione esprime caratteri norditaliani e trova confronti con le opere realizzate tra la Lombardia e l'Emilia tra la fine del XVII e gli inizi del XVIII secolo. Sono gli anni in cui la natura morta riscuote uno straordinario successo collezionistico e innumerevoli sono gli artisti che si specializzano in questo genere, ideando nuove tipologie illustrative con una straordinaria verve creativa. Nel caso in esame la costruzione scenica evoca le opere dei Caffi, dei Gianlisi e di Gilardo da Lodi, in modo particolare se si osserva il propendere dei fiori e dei grappoli d'uva verso l'osservatore. Una esuberanza, tuttavia, regolata dalla ricercata simmetria, che vede al centro il vaso di garofani con gli steli visibili e sorretti da canne, evidenziando come l'artista abbia meditato la costruzione scenica attentamente. L'analisi generale, infine, suggerirebbe una genesi parmense, per le analogie con le opere di Giuseppe Pesci (Parma, ? ; 1722), ma è indubbio che in questo caso gli esiti sono qualitativamente molto più alti, indicando di trovarci al cospetto di una delle sue migliori e atipiche creazioni.

Bibliografia di riferimento:
G. e U. Bocchi, Naturaliter, nuovi contributi alla natura morta in Italia settentrionale e Toscana tra XVII e XVIII secolo, Casalmaggiore 1998, pp. 359-365
A. Crispo, Il collezionismo di Nature morte a Parma e Piacenza, in Fasto e Rigore. La Natura Morta nell'Italia settentrionale dal XVI al XVIII Secolo, catalogo della mostra a cura di G. Godi, Milano 2000, pp. 70-71, 73
A. Crispo, Giuseppe Pesci, in La natura morta in Emilia e in Romagna, a cura di D. Benati e L. Peruzzi, Milano 2000, pp. 193-195