MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,

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MAGNASCO, Alessandro Seashore oil painting


Seashore
mk60 1720 Oil on canvas 62x83"
Painting ID::  28406
MAGNASCO, Alessandro
Seashore
mk60 1720 Oil on canvas 62x83"
   
   
     

MAGNASCO, Alessandro Mountainous Landscape oil painting


Mountainous Landscape
mk60 1720s Oil on canvas 62x83"
Painting ID::  28407
MAGNASCO, Alessandro
Mountainous Landscape
mk60 1720s Oil on canvas 62x83"
   
   
     

MAGNASCO, Alessandro Christ Served by Angels oil painting


Christ Served by Angels
mk61 c.1730 Oil on canvas 193x142cm
Painting ID::  28677
MAGNASCO, Alessandro
Christ Served by Angels
mk61 c.1730 Oil on canvas 193x142cm
   
   
     

MAGNASCO, Alessandro Training the Magpie oil painting


Training the Magpie
mk67 Oil on canvas 18 5/16x23 13/16in Uffizi,
Painting ID::  29978
MAGNASCO, Alessandro
Training the Magpie
mk67 Oil on canvas 18 5/16x23 13/16in Uffizi,
   
   
     

MAGNASCO, Alessandro Halt of the Brigands oil painting


Halt of the Brigands
nn07 1710s Oil on canvas, 112 x 162 cm The Hermitage, St. Petersburg
Painting ID::  31353
MAGNASCO, Alessandro
Halt of the Brigands
nn07 1710s Oil on canvas, 112 x 162 cm The Hermitage, St. Petersburg
   
   
     

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     MAGNASCO, Alessandro
     Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,

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