Roman school, 18th century - Sacrifice of Iphigenia

Roman school, 18th century Sacrifice of Iphigenia Oil on canvas, 50 x 65 cm The canvas depicts The Sacrifice of Iphigenia, a theme reported by numerous sources, including the Greek tragedies Iphigenia in Aulis by Euripides and Agamemnon by Aeschylus, as well as Ovid's Metamorphoses. The myth tells how the Greeks, under the command of Agamemnon, gathered near the city of Aulis, in Boeotia, from which they would then set sail for Troy. However, the persistent calm of the winds prevents the Greek ships from setting sail, and the forced stay of the armies in the city favors the spread of an epidemic. Discontent spreads and Agamemnon's authority falters. The king then consults the soothsayer Calchas for guidance on what to do. He reveals to him that the difficult situation is the result of Artemis' anger towards Agamemnon himself, guilty of having killed a deer dear to the goddess during a hunt. The only way to overcome the impasse – Calchas continues – is to sacrifice Agamemnon's daughter, Iphigenia, to Artemis. The leader of the Greeks accepts and ensures that the girl, accompanied by her mother Clytemnestra, reaches Boeotia: to induce mother and daughter to travel, Agamemnon, lying, tells them that Achilles has asked for Iphigenia's hand in marriage. Upon Iphigenia's arrival in Boeotia, Agamemnon's deception is soon revealed, but the girl still agrees to sacrifice herself to allow the Greek army to reach Troy. Our canvas, the work of a Roman painter from the Neoclassical period, is taken from an engraving and a painting by the 17th-century painter Pietro Testa (Lucca, 1612 – Rome, 1650). As can be seen in the inscription contained in the first edition of the engraving (later eliminated in subsequent editions), the print with the sacrifice of Iphigenia was dedicated by Pietro Testa to Mario Albrizzi, an ecclesiastic holding the position of referendary of the Two Signatures, a judicial body of the pontifical administration. The complex dedication to the high prelate contains an eulogy to the purity of the design, sometimes corrupted by the inadequate use of color. Mentioned by Passeri as one of Testa's highest achievements in the field, the engraving (as can be read on the step of the altar's base) was printed in the printing house set up by Giovanni Giacomo de Rossi in Rome, in via della Pace. The print is signed with the monogram used by the artist (which overlaps a P, a T and an L, Petrus Testa Lucensis, i.e. from Lucca) followed by the words pinx.[it] and sculp.[sit]. The canvas that Testa derived from it, on the other hand, is now kept at the Galleria Spada in Rome. With Ars Antiqua it is possible to defer all amounts up to €7,500 at ZERO RATE, for a total of 15 INSTALLMENTS. Ex. Tot. €4,500 = Monthly installment €300 for 15 months. Ex. Tot. €3,600 = Monthly installment €720 for 5 months. For amounts exceeding €7,500 or for a longer deferral period (over 15 installments), we can provide a personalized payment. Contact us directly for the best quote. LIVE TV – SUNDAY 17.00 – 21.00 Dig.terr. 126 + 813 SKY – Streaming on our website www.arsantiquasrl.com and on our social networks Facebook and Youtube All the works offered by Ars Antiqua are sold accompanied by a certificate of authenticity in accordance with the law and a detailed in-depth sheet. It is possible to see the works directly at the Milan showroom gallery, in via Pisacane 55 and 57. We personally organize transport and delivery of the works, both for Italy and abroad.