"Playing Cards Oil On Canvas XVIII Century Todeschini"Painting, oil on canvas the size of 119 x 130 frameless and 130 x 160 cm with frame, depicting an outdoor scene with a dog and card players of the painter Giacomo Francesco Cipper said the Todeschini (Feldkirch 1664 - Milan 1736).
The different variants of this painter's signature, documented from 1705 to 1736 in Lombardy, as well as the title "German" added to his name, suggest that he worked for a long time in Italy as a foreigner. Cipper's work, according to what we know so far, consists exclusively of genre scenes, mostly with large format backgrounds, often with half-life characters or three-quarters of their lives. full size. The environment and the background are neglected by choice and the spatial relationships between people and objects are unclear.
The exaggerated characterization of the figures is a typical feature of our painter who likes trivial and popular representations engaged in various professions such as eating and drinking (alone, in pairs or in groups of several people), but also with other thematic elements such as only musicians, often flute musicians, card or morra players, litigants, beggars, a mother with a child, etc. The characters, who present themselves to the observer as on a stage with their miserable and patched clothes, do not want to provoke compassion for their state of desolation, but rather want to amuse.
This painting probably painted at maturity some years after its arrival in Italy, so probably between the years 15/25 of the 700 has a lighter and more varied complexion, a reduced plasticity and a precise, almost dry drawing, which is probably justified by the influence of Pietro Bellotti. The compositions become more and more rich and complex, most of the time complete groups are placed in a rather large space, which also resembles an indeterminate scenography, neither internal nor landscape, thus allowing the painter to avoid the representation in perspective. . The most refined and striking style reflects the influence of Antonio Amorosi.
This representation, like his other works, does not escape a good dose of irony. He Cipper, in his creative journey, renews the tradition of the seventeenth century Bamboccianti and reads in a very personal way the examples of Monsù Bernardo and Magnasco with the extremely successful ambition of transposing his ideas in a "monumental" spirit by devoting himself to a realistic definition of everyday objects, food and household items. In this painting, the subjects belong to the popular class. The painting embodies facets that Cipper demonstrates to know how to manage with skill and observation, in symbiosis with a vibrating material and rapid brush strokes, reaching an excellent level of quality.
The complex scene in the foreground, as well as the splendid representation of the dog with ears so large and almost plastified, perhaps the true signature of the painter on this painting, surprise by the attention paid to the chromatic and luminous relations between the various elements and accurate anatomical detail.
Among the principal examples, which have the same style as our painting, it is necessary to quote the arrotino and the gypsy of fortune of the Joanneum of Graz; the Concerto Gypsy, with many figures, from the Peloso collection in Novi Ligure (signed "Jacob Frances Zipper pinxit"), where the conductor presents an often recurring attitude in Cipper's paintings; the genre scene of the Hermitage of Leningrad, in which the woman who steals the fish and the splendid still life of seafood remember the photo of the museum of Auxerre and the two pendants with collection Card Players and Morra Player. private residence in Budapest.
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