Alessandro Varotari, il Padovanino (1588-1649)

Alessandro Varotari, known as Padovanino (Padua 1588 - Venice 1649) workshop/attributable Herkules and Omphale Oil on canvas (109 x 80 cm - Framed 126 x 97 cm) Full details (click HERE) In the beautiful work proposed, which illustrates the myth of Hercules and Queen Omphale, we can admire the stylistic features typical of the early 17th-century Venetian school and in particular, the rosy hues of the flesh near the marked black contours of the figures convincingly lead the work to the hand of Alessandro Varotari, known as Padovanino (Padua 1588-Venice 1648). The painting, which could easily be placed around the fourth decade of the 17th century, still adheres to the tradition of late 16th-century Venetian painting, in a phase of re-elaboration by the artist of Titian's styles. His formal elegance and pictorial softness are enhanced in mythological scenes like ours, characterized by sensual and classicizing nudes. In many ways, these representations anticipate those that Sebastiano Ricci and Giovanni Antonio Pellegrini would create a century later. The painter constructs the scene with great theatricality: the powerful body of the hero lies on the ground surrendered, disarmed, while the beautiful queen, delicately crowned with pearls, expresses all her supremacy while standing exhibiting the club given to her by Hercules. The intriguing iconography is based on an episode taken from Greek mythology (Apollodorus, Library 2.6.3), in which Hercules, the most famous hero of all time and fresh from his legendary twelve labors, was forced by the will of the Oracle of Delphi to become the personal slave of the Queen of Lydia, Omphale. From a simple servant, Hercules will then become her lover, thus succumbing to the magic of Eros, whom we see depicted between the two: in the painting the submission of Hercules is emphasized by the fact that the hero, sitting on the ground, has handed over his club to the queen, which has become the attribute symbol of her power, while he hands over the golden apples of the Hesperides to Eros. The late Mannerism of Padovanino is expressed in the articulated relationship of tension of the bodies of all the characters involved and we can find it in numerous works of the author, including the Orpheus and Eurydice of the Galleria dell'Accademia in Venice (1), the Rape of Deianira of the John and Mable Ringling Museum of Art in Florida (2), and finally the Venus and Adonis of Colnaghi in London (3) 1- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59706/ 2- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59734/ 3- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59733/ ADDITIONAL INFORMATION: The work sold is completed by a pleasant antique frame and is accompanied by a certificate of authenticity and warranty. We take care of and organize the transport of purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco