Ciriaco Parmigiani (Piacenza, 1641-1704)
Pair of cavalry clashes
(2) Oil on canvas, cm 93 x 123
with frame cm 101 x 132
The widespread conception of war-themed paintings in pairs is part of the search for greater visual spectacle; the iteration of military images and historical or fantasy clashes achieved, in the paired imaginative offering, a promise of maximum evocation.
In this pair, it is possible to observe horses struggling, crowding, ruffling their tails and pushing onto a bridge where the battle seems to reach its climax. The superbly fringed brushstroke arranges steeds galloping or lying on the ground like their riders; the figures dart like arrows from one corner of the canvases to the other, chased by leaden fumes rolling at their heels. A kaleidoscope of details and sudden color changes demonstrates the artist's tireless passion in offering two thoughtful war scenes with heartfelt care.
The compositional arrangement, which restricts a handful of figures to one point and expands admirably towards the corners, to return crystalline streams of water that follow their undisturbed course, as well as the typical figuration, and the slavish repetition of formal modules and certain expressions, allows us to attribute the present works with absolute certainty to Ciriaco Parmigiani (1641-1704).
Exemplary of the Parmesan school of the battle genre, Parmigiani is documented in the archives only as "Ciriaco"; he shone within the artistic circle of Parma and Piacenza together with Francesco Monti, also known as the Brescianino from his native city (1646-1703), who in a Cavalry Clash now kept in the deposits of the Museums of the Sforza Castle in Milan seems to adopt Parmigiani's ways. The artist worked closely with Corrado Bergamaschi and Antonio Brambilla, but distinguished himself for the original indefatigable filling of his canvases, in which the expressionism characterizing the faces of the knights and the pride of the horses always agrees with a specific environmental inclusion. In this pair, this is observable in the mossy rocks that semi-hide from view the fallen of the battle, as well as in the pasty mountains in the distance and in the spectral tree that enriches one of the two paintings.
It is possible to compare the pair with numerous Cavalry Battles executed by Parmigiani and today in private Genoese and Bergamasque collections, in which the disposition of the soldiers and the way of painting knights and the natural context are almost identical.
The object is in good condition
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