Antonio Francesco Peruzzini (Ancona, 1643/1646 – Milan, 1724)
Rustic Landscape with River and Town
Rustic Landscape with River and Tower
(2) Oil on canvas, 108 x 62 cm
Expertise Prof. Emilio Negro
The hand of the artist, who Mina Gregori defined as "the most original and groundbreaking landscape painter to emerge at the end of the 17th century," namely Antonio Francesco Peruzzini, is recognizable in this pair of paintings. Finally identified by Arslan in 1959 as that "Perugino", the author of a San Sebastiano in a private Milanese collection, Peruzzini has recently been re-evaluated from the old classification as merely subordinate to Lissandrino (Alessandro Magnasco), compared to whom he proves to be an excellent assistant and original landscape painter. A distant mountainous horizon, of frozen vigor, is proposed in both canvases, interspersed with a lively tree in the background that spirals vorticosely to the sky. The anti-academicism and non-conformism that characterized Peruzzini's entire career appear evident here and justify, in retrospect, his choice of figurative collaborators of the caliber of Magnasco and Sebastiano Ricci.
Documented within the Archive of the Archiepiscopal Curia of Milan relating to the Parish of Santo Stefano Maggiore, as well as in the Milanese State Archive, hence the double hypothesis of the year of birth by reason of the different age remembered at the time of death, the artist probably trained within the family environment, as both his father Domenico and brothers Paolo and Giovanni were already painters. Having later perfected his landscape painting skills, Peruzzini first moved to Rome in 1663, where there is evidence of the shipment to Turin of canvases executed on behalf of Carlo Emanuele II of Savoy; from this period are the "Burrasche" donated to the Holy House of Loreto, his oldest known works. Between 1682 and 1689, the artist is documented in the city of Bologna, where he collaborated with Giovanni Antonio Burrini and Sebastiano Ricci on commission from Count Annibale Ranuzzi. Some canvases now preserved on Isola Bella within the Borromeo Archive testify to the artist's long stay within the Emilian city, as well as the happy relationship with Count Vitaliano Borromeo, accompanied by contracts extended to Venice, Modena, Parma, Turin and Casale Monferrato. The artist stayed in Milan between 1690 and 1695 in the service of Cesare Pagani Marchese, thus approaching Alessandro Magnasco, with whom he would have a prolific collaborative relationship. In 1703 he lived in the Medici residences and attended to the most up-to-date requests of the Florentine nobles, also satisfying Ferdinando de' Medici, except to withdraw again to Milan with Magnasco and work there until his death.
To confirm the attribution, it is enough to compare these two canvases with Peruzzini's very similar compositions: The Flight into Egypt of the Uffizi or the wooded landscape of the Allen Memorial Art Museum, or even the canvases kept at the Hermitage Museum at the Luxoro Museum in Genoa Temptations of Saint Anthony (Berlin, Staatliche Museen Gemäldegalerie. In these landscapes, the lightness of the pictorial touch and the playful compositional skill are indistinguishable, characteristics that render the spirit and humors typical of European Rococo and Peruzzini's best landscapes.
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