Giovanni Andrea Podestà
Bacchanale
1649

Name: Bacchanale
Brand: Giovanni Andrea Podestà
Rating: 5 (115 reviews)

2 116 €

À propos de cet article

Bacchanal Etching, 1649 Inscribed in the square left: "Magnificentis/simo Principi/Paolo lorda/no. II Bracci/ani Duci/Aud. P.DDD/1640; Inscribed on right: Rome apud Franciscsum Saluucium Condition: Usual centerfolds from paper manufacture Plate: 10 3/8 x 15 1/2" Sheet: 11 1/2 x 16 1/2"; References: Bartsch XX.4 Sopher Plate 145 An impression of this image is in the collections of the Philadelphia Museum of Art and the National Gallery of Art, Washington An exceptionally rich impression in excellent condition. From Wikipedia, the free encyclopedia Putti as Allegory of Music Giovanni Andrea Podestà or Giovanni Andrea Podesta (1608 - c. 1674) was an Italian painter and engraver who was principally active in Rome. His principal subject matter is children playing in landscapes with classical objects. His works show the influence of Poussin's Arcadian landscapes and bacchanals, which were ultimately derived from Titian's bacchanals. Life Giovanni Andrea Podestà was born in Genoa. He was formed in Genoa with Giovanni Andrea de Ferrari and Domenico Fiasella according to the information provided by the contemporary Genoese biographer Raffaele Soprani. He is also recorded as an apprentice of Giovanni Battista Paggi in 1627. His presence is documented from in 1634 in Rome where he made drawings after the statues and ancient reliefs at the famous Giustiniani collection. These were subsequently engraved for publication in the 'Galleria Giustiniani'. The artist's career ran a course similar to that of the young Domenico Fiasella. In Rome his art evolved in contact with the works of Poussin, Andrea di Leone, Pietro Testa and the Flemish artists François Duquesnoy and Karel Philips Spierincks. In 1650 Podesta became a member of the Accademia di San Luca in Rome. He died in Genoa. Work A majority of Podestà's paintings depict children playing amid classical objects in landscapes. Few of his paintings have survived and his work is now mainly known from the etchings he made himself after his compositions. In particular a series of prints published in Rome which date from 1636 to 1661 form an important source of information on his work. Putti in a Landscape Podestà made prints after the bacchanals of Titian, which he dedicated to powerful patrons. He dedicated a series of prints to the pleasures of wine to Paolo Giordano Orsini II, Prince of Bracciano. Orsini also owned multiple paintings by Podestà, including two landscapes and seven small paintings of seafood. A Worship of Venus etched after Titian was dedicated to Cassiano dal Pozzo and other prints of bacchanals to Fabio della Cornia. The artist clearly tried tocurry favour with the Barberini family through these dedications.[3] Cassiano dal Pozzo was known for his archaeological interests. Podestà's acquaintance with Cassiano dal Pozzo may have played a role in Podestà’s artistic development and may have put him in the circle of Poussin. This circle included Flemish artists such as the sculptor François Duquesnoy and the painter Karel Philips Spierincks who at one time or the other shared a home in Rome and also had common artistic interests. In this circle there was an interest in Classicism as well as a growing interest and admiration for the bacchanals of Titian. This found expression in copies and reproductions after Titian as well as new compositions inspired by the theme of the bacchanals. The mutual influence of the artists in this circle is clear from the fact that Podestà 's Bacchus and Ariadne (At Arte Antico) cites in the putto who scares another putto with a mask similar figures in a Drunken Silenus of the Flemish painter Karel Philips Spierincks. The quality of his work and its closeness to the Poussin circle was such that it is often difficult to distinguish his work from compositions by Poussin and Spierincks. His work has considerable charm, a feature sometimes lacking in the work of his more illustrious contemporaries. One scholar noted that 'Although Podestà was neither a great designer nor a great draughtsman, his amusing conceits display the lighter side of the often sober classical devotees in Rome in the 1630s and 1640s.' Although a rather marginal artist, his works depicting putti at play definitely had an influence on late Genoese Baroque painting, such as on the decorative artists of the 'Casa Piola'. The few drawings by Podesta that have been preserved show features familiar from his etchings: contorted facial expressions, small twisting figures, patches of dark cross-hatching and an interest in still-life. In their precision they are similar to and possibly derived from Sinibaldo Scorza, whose prints may have been an inspiration for Podestà's own etchings.

Créateur:
Giovanni Andrea Podestà (1615 - 1674, Italien)
Année de création:
1649
Dimensions:
Hauteur : 29,21 cm (11,5 po)Largeur : 41,91 cm (16,5 po)
Support:
Eau-forte
Mouvement et style:
Maîtres anciens
Période:
XVIIe siècle
État:
Adresse de la galerie:
Fairlawn, OH
Numéro de référence:
Vendeur : FA95541stDibs : LU14014429832

Matériaux

Eau-forte

Suggestions

Pietro FontanaBacchanales - Gravure de P. Fontana d'après A. Tofanelli - 1821, 1821

Bacchanales - Gravure de P. Fontana d'après A. Tofanelli - 1821

ParPietro Fontana

"Baccanale con Bacco, Sileno, Fauni, e Menadi" (Baccanale avec du vin, du silence, des fruits et des légumes) est une belle gravure au burin en noir et blanc sur papier, réalisée pa...

Catégorie

années 1820, Moderne, Estampes - Figuratif

Matériaux

Eau-forte

Giovanni GalloBacchanale, milieu du siècle à Pompeii, mythologie romaine, Bacchus, néoclassique, 1954

Bacchanale, milieu du siècle à Pompeii, mythologie romaine, Bacchus, néoclassique

ParGiovanni Gallo

Signée en bas à droite, "Gallo Giovanni" pour Giovanni Gallo (italien, 20e siècle) et datée de 1954. Titré en bas à gauche, "Eseguito a Pompei, 'Trionfo di Bacco'" (Fait à Pompéi, '...

Catégorie

années 1950, Dessins et aquarelles - Nus

Matériaux

Papier, Gouache

Homme et Satyres - Gravure de Marcantonio Bellavia - 17ème siècle

L'Homme et les Satyres est une œuvre d'art ancienne réalisée au 17ème siècle par Marcantonio Bellavia. Gravure en noir et blanc. Bon état (quelques rousseurs et taches sur le papie...

Catégorie

17ème siècle, Moderne, Estampes - Figuratif

Matériaux

Eau-forte

Giovanni Andrea PodestàBacchanale1649

À propos de cet article

Plus d'articles de ce vendeur

XVIIIe siècle et antérieur, Baroque, Dessins et aquarelles - Figuratif

années 1630, Maîtres anciens, Estampes - Paysage

années 1710, Maîtres anciens, Estampes - Paysage

17ème siècle, Maîtres anciens, Estampes - Figuratif

Années 1760, Baroque, Dessins et aquarelles - Portrait

années 1740, Maîtres anciens, Estampes - Intérieurs

Suggestions

années 1820, Moderne, Estampes - Figuratif

années 1950, Dessins et aquarelles - Nus

Antiquités, XIXe siècle, italien, Néoclassique, Estampes

Début du XVIIIe siècle, Peintures - Figuratif

XVIIIe siècle, Maîtres anciens, Peintures - Figuratif

17ème siècle, Moderne, Estampes - Figuratif

Giovanni Andrea Podestà
Bacchanale
1649