Antonio Maria Marini

Code D 199 Antique 17th-century painting Our gallery is pleased to present a striking seascape by ANTONIO MARIA MARINI. "Ships at sea in a storm before a coast and figures in the foreground" oil on canvas CANVAS Dimensions 73 x 127 cm Provenance: SALE, Finarte, Milan, 1975, lot 55 SALE, Finarte Milan, 1979, lot 308 art market, Milan PRIVATE COLLECTION LITERATURE: L. Muti, D. de Sarno Prignano, Antonio Marini: Painter (1668-1725), Rimini 1991, pp. 232-3, fig. 73 (under the name Antonio Marini); SM. Proni, Antonio Maria Marini: The complete works, Naples 1992, pp. 152-3, fig. 2.21 (as Marini with a previous attribution to Marco Ricci) Antonio Maria Marini (Venice, February 9, 1668 – Venice, December 15, 1725) He was born in Venice to a Paduan father in 1668, but spent his youth in Padua, where he trained as a painter. Around 1693 he was certainly in Bologna, as testified by the Reverend Domenico Mauro Doria Montini. In February 1694, he married Caterina Pirondi in Bologna and during that period practiced his art in the same city and surrounding area. In these years he probably met Antonio Francesco Peruzzini or at least had the opportunity to see some of his paintings. Marini's works, in fact, are strongly influenced by the painting of Salvator Rosa, the suggestions of which he may have assimilated through the work of Peruzzini. He executed some works for Count Zambeccari, now at the Pinacoteca Nazionale di Bologna, including two Marine in a storm and other landscapes: all these paintings denote a pre-Romantic sensibility, characteristic of Rosa. Having moved to Padua around 1700, he came into contact with Sebastiano Ricci, who was working in the Basilica of Santa Giustina. In 1702 the artist moved to Venice, where in 1707 he remarried Elisabetta Costadoni. The twenty paintings purchased by Lord Edward Irwin date back to this early 18th-century period and are still located at Temple Newsam House, a building annexed to the City Art Gallery of Leeds. Specializing in the painting of landscapes rendered in a "spectacular" manner, Antonio Marini belonged to the Venetian school. He also painted battles (Quadreria Emo Capodilista - Padua). He used a technique with broad brushstrokes, as can be seen in the painting "Mountains with natural arch and knights" (1710-1720?), an Arcadian and imaginative landscape, preserved at the Accademia Carrara in Bergamo [3]. This way of painting is also common to other painters in the Po Valley area, even very different ones, such as Alessandro Magnasco and Marco Ricci. In fact, a large part of his production was mistakenly attributed to Ricci and often also to Magnasco, Rosa and Guardi. In his works, depth is rendered by the superimposition of planes at different distances, the figures are barely outlined with rapid brushstrokes, denoting a freedom of writing unthinkable for those times[1]. It was thanks to him that today we can admire the true portrait of Dante at 32 or 33 years old, painted by Giotto around 1298. WORK ACCOMPANIED BY A PHOTOGRAPHIC CERTIFICATE OF AUTHENTICITY IN ACCORDANCE WITH THE LAW