Scuola Emiliana

Painting, oil on canvas, datable to around the 1730s, with dimensions of 115 x 222 cm without frame and 130 x 240 cm with coeval frame depicting the Pentecost in the Emilian style, particularly reminiscent of the painter Ercole Graziani (Bologna 1688 – 1765). He was a student of Donato Creti, with whom he was often confused, and began with works that are faithful to the formal idealizations of his master: examples of this phase are Lot and His Daughters and Susanna and the Elders, both works kept at the National Art Gallery of Bologna. Later, he approached Pasinelli, Creti's master, with a pictorial production derived from Veronese, with more sentimental interpretations. In the 1730s, Graziani produced his most important works in both the sacred (such as the Madonna with Child and Saint Irene, now in Brussels) and secular genres. In the following decades, he followed first an academicizing phase, as in the Baptism of Christ executed for the Cathedral of San Pietro in Bologna and San Mauro Heals the Crippled in San Procolo in Bologna. This vibrant painting depicts in a very scenographic way the evangelical episode of Pentecost, the Descent of the Holy Spirit that occurred 50 days after the resurrection of Christ. The Virgin, with her hands clasped together, is surrounded by the Apostles who assume attitudes and expressions of amazement in seeing the flames descend upon them. The composition, which presents all the characteristics of early 18th-century Bolognese painting, is particularly pleasing both for the remarkable depiction of the characters and for the splendid colors. The painting in question is an important document of Graziani's best vein because it exhibits a luminous impetus of brilliant ability; this happens because, undoubtedly, the best part of our painter's activity concerns portraiture, both of people and objects, which he carried out with constant commitment, arriving at a peculiarity of manners that marks a significant phase in the development of the genre, with a lucid anticipation of the executive refinement of the neoclassicists, also due to a breadth of mixtures and a perspicacity of definition that are all typical prerogatives of the great Bolognese painting of Ercole himself. The canvas we are observing here seems to refer to a precision of detail typical of the figurative culture of the 17th century, precisely due to a diligent and very accurate way of painting and a meticulous scruple in the representation of the figures portrayed with a strong psychological impact and with great reference to the details of the faces and clothes of the same. The paintings and art objects published here are my exclusive property and consequently are always available to be viewed in person, by appointment, in my exhibition venues located in Sanremo and Brescia. The work, like all our objects, is sold accompanied by a FIMA photographic certificate of authenticity and legal provenance; this document identifies the object, adding value to the item. We personally take care of and organize the packaging and shipping of works of art with insurance worldwide. Dr. Riccardo Moneghini Art Historian