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 Annunciation (detail) sg oil painting


Annunciation (detail) sg
c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
Painting ID::  8028
MAGNASCO, Alessandro
Annunciation (detail) sg
c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
   
   
     

MAGNASCO, Alessandro Annunciation (detail) sg oil painting


Annunciation (detail) sg
c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
Painting ID::  8029
MAGNASCO, Alessandro
Annunciation (detail) sg
c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
   
   
     

MAGNASCO, Alessandro Bandits' Stopping Place oil painting


Bandits' Stopping Place
1710s Oil on canvas The Hermitage, St. Petersburg.
Painting ID::  19245
MAGNASCO, Alessandro
Bandits' Stopping Place
1710s Oil on canvas The Hermitage, St. Petersburg.
   
   
     

MAGNASCO, Alessandro Sacreligious Robbery oil painting


Sacreligious Robbery
1731 Oil on canvas Quadreria arcivescovile, Milan.
Painting ID::  19246
MAGNASCO, Alessandro
Sacreligious Robbery
1731 Oil on canvas Quadreria arcivescovile, Milan.
   
   
     

MAGNASCO, Alessandro THe Gypsies'Wedding Feast (mk05) oil painting


THe Gypsies'Wedding Feast (mk05)
Canvas,34 x 47''(86 x 119 cm)Given in 1927
Painting ID::  20493
MAGNASCO, Alessandro
THe Gypsies'Wedding Feast (mk05)
Canvas,34 x 47''(86 x 119 cm)Given in 1927
   
   
     

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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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