Alessandro Magnasco (1667 -1749)

Alessandro Magnasco, known as "il Lissandrino" (Genoa, February 4, 1667 - March 12, 1749) "Caprices with architectural ruins and figures" Oil on canvas Era: early 18th century Contemporary walnut frames with Medici coats of arms. Canvas dimensions: 38 x 27 cm, frame dimensions: 48 x 37 cm Excellent condition All photographic details on the link: https://www.antichitaischia.it/it/prodotto/alessandro-magnasco-detto---il-lissandrino- An extraordinary collection of 10 caprices depicting architectural ruins animated by an infinite and varied array of characters. The ten canvases, while presenting a single common thread with a practically similar descriptive continuity, differ totally both in the composition of the ruined architectures and in the incredible variety of figures that animate the scenes. The author in this series of paintings can demonstrate his unparalleled creative genius, supported by a painterly ability of the highest level. The views present a scenographic richness that leaves the viewer stunned and leads him to search for continuous new details to identify and decipher in the countless scenes animated by typical characters from the repertoire of the Great Genoese Master. Outstanding, among the various situations, are the figures of painters intent on painting in front of the easel, but also the inevitable soldiers, players sitting at tables, musicians, and acrobats. The artistic universe, absolutely visionary and surreal, of Alessandro Magnasco, is represented here in an excellent way. The charm of this very rare collection, already in itself of considerable attraction, is increased by the state of preservation of the works, which are presented in the first canvas, still fixed on the original fixed frames, without the slightest retouching to the paintings, which remain intact and complete with the original frames. To this must be added a very interesting and particular note: on the back of the frames are fire-branded Medici coats of arms, which certify the dating of the works to the first 10 years of the 18th century, a period spent by Magnasco at the Medici Court, under the protective wing of Grand Prince Ferdinando. The hypothesis that the 10 canvases may be the 10 preparatory sketches, executed with great effectiveness, for the realization of large works commissioned by Ferdinando de' Medici is very suggestive. In any case, we prefer to keep the entire collection together, avoiding dispersing the separate paintings, to safeguard the artistic completeness and historicity of the collection, to be considered as a single work. Biography of the Author Alessandro Magnasco was born in Genoa on February 4, 1667, son of Stefano Magnasco and Livia Caterina Musso. Following the death of his father, also a painter and pupil of Valerio Castello, the very young Alessandro moved to Milan in 1682, to the workshop of Filippo Abbiati. Here he was influenced above all by contemporary Venetian painting and by the Baroque style of his master. His paintings, made of pasty and flaky material, unleash violent contrasts both chromatic and luministic and will have a strong influence also in the painting of his contemporaries, in particular the Venetian Marco Ricci. Considered one of the most original artists of the Italian eighteenth century, he distinguishes himself in the painting of genre popolaresco. The brushstroke, always full of chiaroscuro effects and flashes of light in the dark, tends to depict dark environments with elongated and distorted figures, anticipating the expressionist painting of later centuries. - Magnasco in Milan - His first works were portraits commissioned, a genre abandoned soon to devote himself to landscapes with scenes animated by lanky figures of friars, gypsies, soldiers, woodsmen and acrobats, inserted in large and gloomy scenarios. His canvases are set mainly in a context that describes stormy landscapes, dark woods, or disturbing conventual scenographies. In the realization of works with ruins and architecture, he often makes use of the collaboration of some specialists, such as Clemente Spera and Antonio Francesco Peruzzini. With the latter, he collaborates intensely, leaving to the colleague the representation of the extraordinary tree compositions with the very high fronds that stand out in backlight on the luminous blue skies. - At the court of the Medici - From 1703 to 1710 Magnasco settled in Florence at the service of Grand Prince Ferdinando de' Medici, eldest son of Cosimo III and passionate patron and collector. In Florence, Magnasco encountered a series of painters and engravers who between the 17th and 18th centuries had dedicated themselves to the development of the so-called "caricata e giocosa" painting genre, including Stefano della Bella, Salvator Rosa, Giuseppe Maria Crespi and Giovanni Domenico Ferretti, all frequenters of the court of the last Medici grand dukes. In 1711, back in Milan, he was called to execute the decoration for the triumphal entrance of Emperor Charles VI into the City. Often his painting is compared to that of restless spirits such as the visionary Monsù Desiderio, or to the great masterpieces of El Greco, from which, however, Magnasco distinguished himself by his personal vision of light, even in the small 18th-century "genre" paintings, with scenes that express strong drama combined with a rococo taste, typically scenographic and theatrical. A certificate of authenticity is issued in accordance with the law (FIMA affiliate) Tracked shipping (DHL TRACKING) and fully insured with anti-shock packaging in a custom-made wooden box. Delivery within 3 working days from receipt of the bank transfer (DHL EXPRESS) Price negotiable - Personalized payment