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 Bacchanalian Scene oil painting


Bacchanalian Scene
1710s Oil on canvas, 110,5 x 167,5 cm
Painting ID::  32372
MAGNASCO, Alessandro
Bacchanalian Scene
1710s Oil on canvas, 110,5 x 167,5 cm
   
   
     

MAGNASCO, Alessandro Christ Adored by Two Nuns oil painting


Christ Adored by Two Nuns
c. 1715 Oil on canvas, 58 x 43 cm
Painting ID::  32376
MAGNASCO, Alessandro
Christ Adored by Two Nuns
c. 1715 Oil on canvas, 58 x 43 cm
   
   
     

MAGNASCO, Alessandro The Seashore oil painting


The Seashore
c. 1700 Oil on canvas, 158 x 211 cm
Painting ID::  32388
MAGNASCO, Alessandro
The Seashore
c. 1700 Oil on canvas, 158 x 211 cm
   
   
     

MAGNASCO, Alessandro Seascape with Fishermen and Bathers oil painting


Seascape with Fishermen and Bathers
mk86 undated Oil on canvas 115x92cm Venice
Painting ID::  33787
MAGNASCO, Alessandro
Seascape with Fishermen and Bathers
mk86 undated Oil on canvas 115x92cm Venice
   
   
     

MAGNASCO, Alessandro The Wise Raven oil painting


The Wise Raven
mk86 c.1703-1711 Oil on canvas 47x61cm Florence,Galleria degli Uffizi.
Painting ID::  33788
MAGNASCO, Alessandro
The Wise Raven
mk86 c.1703-1711 Oil on canvas 47x61cm Florence,Galleria degli Uffizi.
   
   
     

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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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