Laban Searching for Idols, 1635/1640

Andrea De Lione (Naples, 1610 – Naples, 1685) Laban Searching for Idols, 1635/1640 Etching Dimensions: mm 249 x 327 Italian painter trained with Belisario Corenzio (Acaia 1558 - Naples 1646) from whom he learned the fresco technique. He then became one of the best pupils of Aniello Falcone (Naples 1607 - Naples 1656) and studied the nude and applied himself to drawing in his workshop. His artistic language reflects the arrival in Naples of Giovanni Benedetto Castiglione, known as il Grechetto (Genoa 1609 - Mantua 1664), and what he studied during his trip to Rome around 1674. He was able to develop a language that was the result of the fusion between Classicism and Roman Baroque, which translates into a soft and symmetrical design. The inscription "Gio Benedetto Castiglione Genovese" can be read in the engraving in the lower left, and for this reason the print has always been attributed to il Grechetto. Recently, however, Miriam Di Penta, due to stylistic affinity in the faces, hairstyles and gestures of the figures, assigns the work to De Leone. The scene, which takes place in a landscape characterized by mountains in the background, animals and a large tree in the center, is taken from the book of Genesis (XXXI, 33 -35). It depicts Laban searching inside a chest for his idols that his daughter Rachel had stolen before fleeing with Jacob. Jacob is represented standing on the left, while Rachel is sitting wrapped in a robe and with her son next to her. The scene is agitated. In the engraving we find influences of Castiglione, of Poussin in the silver vase abandoned on the sheet in a sort of still life, and of the manner of Pietro Testa (Lucca 1612 - Rome 1650). The dense strokes, the long and parallel lines envelop the scene in a gray-silver atmosphere. We propose a reference to a drawing kept at the Victorian and Albert Museum in which, although it is a different subject, we find the same composition. Specimen in the II/ IV state, with the scratch in the sky but before the scratches on the sheep. Bartsch records a painting by Castiglione and one by Pietro Testa of the same composition. Excellent impression. Excellent condition except for some folds in the upper right. Minimal margins or specimen trimmed along the always visible platemark. Bibliography: M. Di Penta, Andrea De Leone, De Luca Editori d'Arte, 2011, D.25; B 4; TIB 4 (11) as Castiglione; Bellini 2 (Castiglione Il Grechetto).