The auction has ended
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LOT 1:
(alla maniera di) Vittorio Amedeo Cignaroli (1730 - 1800)
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Sold for: €2,600
Start price:
€
2,600
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Arcadian river landscape with a stream, small waterfall and shepherds Italy, second half of the 18th century
Italy, second half of the 18th century
Technique: oil on canvas
Dimensions: cm 105 x 111
This wonderful painting is to be compared to the sphere of Vittorio Amedeo Cignaroli, from Turin - Italy.
The work fully reflects a Rococo pictorial taste, from which a strong Arcadian sensitivity emerges, in compliance with the tastes of the client of the time, mainly composed of noble court aristocrats and royals belonging to the Savoy family, for which Cignaroli and his circle habitually worked.
The compositions of his School are united by their propensity for bucolic themes, in which nature is evoked as a lost Golden Age, and the landscape represented refers to the wooded Piedmontese countryside.
The painting, with its bucolic stillness, shows evident relationships with contemporary works by Francesco Zuccarelli (1702-1788) and Giuseppe Zais (1709-1788); the landscape is vaporous and bright, outlined by an exceptional lightness. The archaic shepherds of the painting appear clearly inspired by the graceful and delicate figures that populate the pastoral idylls of Nicolaes Berchem and other important genre artists, well known by the Roman sojourns that every painter of the time necessarily had to perform and by the always lively interest in the Bamboccianti School.
As Mr. Cottino's study points out, the Arcadian vision of Cignaroli and his circle is closely linked to the picturesque aesthetics of European taste and the landscape takes on purely courteous values, a privileged place for the nobility and its pastimes. It is in this key that the change and detachment with the Roman matrix classicism takes place, steeped in literary and mythological evocations. For Cignaroli and his patrons, Arcadia is recognized in the possessions that surround the Savoy residences, a countryside free from mythical creatures of Ovidian memory.
The canvas under consideration is close, in terms of quality and iconographic choices, to the decorative creations of his production of full maturity, around the seventh and eighth decade. The technique is fluid: the atmospheric light and the classic pastoral character perfectly characterize the picturesque Arcadian landscapes of Cignaroli and his students, in line with the needs of the Savoy and European collecting market.
Cignaroli and his School have been greatly revalued in terms of collective level in the last twenty years, and among his students there are the best Piedmontese landscape painters of the eighteenth century.
The painting is in excellent condition (apart from a vertical crack in the center of the painting, not very visible). Complete with a beautiful coeval frame, in gilded wood, and in excellent condition.
Dimensions: cm 105 x 111
This wonderful painting is to be compared to the sphere of Vittorio Amedeo Cignaroli, from Turin - Italy.
The work fully reflects a Rococo pictorial taste, from which a strong Arcadian sensitivity emerges, in compliance with the tastes of the client of the time, mainly composed of noble court aristocrats and royals belonging to the Savoy family, for which Cignaroli and his circle habitually worked.
The compositions of his School are united by their propensity for bucolic themes, in which nature is evoked as a lost Golden Age, and the landscape represented refers to the wooded Piedmontese countryside.
The painting, with its bucolic stillness, shows evident relationships with contemporary works by Francesco Zuccarelli (1702-1788) and Giuseppe Zais (1709-1788); the landscape is vaporous and bright, outlined by an exceptional lightness. The archaic shepherds of the painting appear clearly inspired by the graceful and delicate figures that populate the pastoral idylls of Nicolaes Berchem and other important genre artists, well known by the Roman sojourns that every painter of the time necessarily had to perform and by the always lively interest in the Bamboccianti School.
As Mr. Cottino's study points out, the Arcadian vision of Cignaroli and his circle is closely linked to the picturesque aesthetics of European taste and the landscape takes on purely courteous values, a privileged place for the nobility and its pastimes. It is in this key that the change and detachment with the Roman matrix classicism takes place, steeped in literary and mythological evocations. For Cignaroli and his patrons, Arcadia is recognized in the possessions that surround the Savoy residences, a countryside free from mythical creatures of Ovidian memory.
The canvas under consideration is close, in terms of quality and iconographic choices, to the decorative creations of his production of full maturity, around the seventh and eighth decade. The technique is fluid: the atmospheric light and the classic pastoral character perfectly characterize the picturesque Arcadian landscapes of Cignaroli and his students, in line with the needs of the Savoy and European collecting market.
Cignaroli and his School have been greatly revalued in terms of collective level in the last twenty years, and among his students there are the best Piedmontese landscape painters of the eighteenth century.
The painting is in excellent condition (apart from a vertical crack in the center of the painting, not very visible). Complete with a beautiful coeval frame, in gilded wood, and in excellent condition.
