Giovanni Ghisolfi (Milano 1623 - 1683)

Giovanni Ghisolfi (Milan 1623 - 1683) Architectural capriccio with ruins of an Ionic temple Oil on canvas 73 x 87 cm., within a gilded wooden frame 87 x 100 cm. Details of the present painting: https://www.antichitacastelbarco.it/it/prodotto/capriccio-architettonico-con-rovine-ghisolfi This high-quality view with capriccio against the backdrop of a seascape (oil on canvas, 73 x 87 cm) is a significant new testimony to the Milanese Giovanni Ghisolfi (Milan 1623 - 1683). In particular, the work perfectly fits into his most mature phase, characterized by inventiveness and display taste. Ghisolfi was a forerunner compared to many artists of the following century who certainly drew useful ideas from this late phase of the master born in Milan but adopted by Rome. Indeed, Ghisolfi matured his decisive training in these particular iconographies, centered on the ancient Roman vestiges, precisely in the papal city, and thanks to which he became the most established specialist in this strand. The artist is in fact considered by critics as the forerunner of the “architectural capriccio” type, which only in the 18th century will achieve extraordinary illustrative fortune and consecrate him as an autonomous pictorial genre. His work was therefore at the base of the formation of many authors, among all Giovanni Paolo Panini, who will paraphrase several works, tracing the compositional schemes and resuming the strong contrasts, shadows and dark palette. Typical of his style, and which we find excellently on our canvas, is the technique with which he constructs the perspective sequences, treating the background with a dark silvery color, while the architectural passages are delineated by accurate and precise brushstrokes, strong contrasts and touches of black in the plastic details. A curious mixture is accomplished in him between the North Italian and Capitoline taste, a combination that makes Giovanni Ghisolfi a modern author in the best Baroque sense. At the same time, an intimate classicist vein transpires from the canvas, marked by elegant compositional balances. The influence of Salvator Rosa, as regards the execution of the inserted figures, is very marked, and would seem to support the hypothesis, however never confirmed on a documentary level, of their collaboration. The work serves as a theater for the episode of the parable of the 'Tribute Money', the concluding moment of an episode taken from the Gospel of Matthew (17, 24-27), when Christ in the company of the apostles orders Peter to fish in the Sea of Tiberias and to pay the tax collectors for the Temple with the silver coin that he would find inside the fish. By way of example, compare, both for the compositional characteristics and for the subject depicted, one of the two paintings that appeared Bonhams of London (Old Master Paintings, 9 Dec 2009 lot 79: https://www.bonhams.com/auctions/16888/lot/79/) where we find the same biblical theme in combination with architectural views. Upon examination with a Wood's lamp, slight restoration interventions are evident, but overall the state of conservation is excellent. Painting complete with certificate of authenticity in accordance with the law. For any information, do not hesitate to contact us.