The Sabine Abduction Francesco Allegrini flag

The Sabine Abduction Francesco Allegrini
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Object description :

"The Sabine Abduction Francesco Allegrini"
I am very pleased to present this important painting, oil on canvas, 105 x 130 cm without frame and 125 x 155 cm with an amazing carved and gilded frame of the seventeenth century, focusing on the famous episode of "Viol des Sabines" . In fact, while in the one with Romulus in front of the tent is represented the "Rat", this painting, I think, refers to the following episode with the Sabines who burst in Rome, to recover their wives, having now joined the Romans, they worked hard to reconcile the two peoples who later joined Rome to become their epicenter. This painting is an exceptional new acquisition in the catalog of Francesco Allegrini (Gubbio 1587 - Rome 1663), especially as regards his production of paintings for paintings, which he has certainly been able to associate with the most famous fresco of various palaces. Romans and his hometown, where he benefited from the protection and patronage of Bishop Alessandro Sperelli, who commissioned the Chapel of the sacrament in the cathedral. Very well established in life, he forged his training to the Cavalier d'Arpino and Pietro da Cortona to claim a credit for obtaining papal orders, first by Alexander VII (decoration of the Vatican loggias) , then by Innocent X (Doria Pamphilj palace frescoes), even though his artistic figure has not yet received recognition from contemporary critics. The activity of the Allegrini as a fresco and decorator of Roman palaces - the fresco of San Marco in Rome and the cycles of Palazzi Colonna, Costaguti and Doria Pamphilj - finally remains well defined by E. Fumagalli and AG De Marchi ("Paragon") , N. 28, November 1999, pp. 3-24 and 25-40), which distinguishes it from that of the Flemish Vincent Adriaenssen called "Hub of Antwerp". Painter of great success in the Roman aristocracy throughout the first half of the century and to which he returned, in addition to the cycles mentioned above, as well as in that of Palazzo Borghese. However, in his public works - those of Gubbio and Genoa were not mentioned - it is surprising how difficult it is to reconstruct a corpus of paintings on canvas in classical quadreria formats, such as the couple considered here. , for which I have certainly not missed the opportunities for a successful painter like Allegrini. But in this respect, it must be emphasized, in my opinion, that this task, besides a certain disinterest inherent in contemporary criticism, was intrinsically hampered by the dichotomous character of its personality, which first evolved under the domination of the Cesari to open. a decisive adherence to the Baroque, but never completely deviated by Mannerist inflections, particularly cultivated in his most fervent graphic activity and clearly appeared in his "beautiful scenes", an essential part of his work, as is apparent from the above-mentioned cycles, confirmed in his hand. A small version of the rape of the Sabines, apparently autographed, was sold to the Blindarte of Naples (29.05.2012, n ° 138). This remarkable example is related to one of the two examined here, due to the presence of Romulus on the left side of the composition, but in completely different positions and contexts: sitting on a throne in the Neapolitan pole and standing in front of a tent in one of 'our' couple. It is obvious that the stylistic and figurative correspondences between the versions presenting similar characters and emphasizing the baroque, however, explain the differences of interpretation and exposure, more light between the two of the pendant in question, more obvious compared to the table of the last recovered at Allegrini. In fact, I think that this is due to its advanced stage of total adherence to the Baroque, but already underpinned by classic attenuations of giving more weight to the human figure, with the emerging central group, while our canvases should be awarded at about half. of the century; very dense and presentation of the characters, while granting a space of debt in the upper half, in one to the representation of a wall with diagonal square towers and a landscape background in the right part, and in the another to the representation of the tent more of the seventeenth century than Roman, as well as the fortified complex with powerful circular towers. The insertion of the old naked man is unclear, of the most sculptural appearance that the man - perhaps the personification of a god who approves the event - is conducted erected on a chariot pulled by two horses. However, in these two paintings, two absolute masterpieces of the entire curriculum of Allegrini, the painter shows that he has fully assimilated the lesson of Berrettini, in whose workshop he settled after death the Arpino Rider in 1640, in the orchestra of vast masses of characters with a dynamic bursting with Baroque flavors, denouncing Mannerist reminiscences following the Cesari fresco by Cesari, as the group of knights framed by the walls and on in which the author's attention is focused on beautiful pairs of more detailed definition characters and brighter chromatic ranges, such as the one with the woman wearing the blue dress on the left and the other with the wounded warrior lying on the floor next to it from his shield to the right. The work, like all our objects, is sold accompanied by a certificate of photographic authenticity; This document identifies the object by adding value to the article. We personally insure and organize the packing and shipping of works of art with insurance worldwide. Ms. Riccardo Moneghini Expert in Ancient Paintings - Art Historian
Price:20000 €
Artist : Francesco Allegrini ( Gubbio 1587 - Roma 1663 )
Period:17th century
Condition : Très bon état

Material : Huile sur toile
Width : 130
Height : 105
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Antichità Riccardo Moneghini
Furniture and paintings from the 16th to the 18th century
The Sabine Abduction Francesco Allegrini
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