"Jacopo Amigoni (venice 1682 - Madrid 1752), Portrait Of A Lady As Allegory Of Sculpture"Jacopo Amigoni (Venice 1682 - Madrid 1752), workshop
Portrait of a girl in the guise of an Allegory of Sculpture
First half of the eighteenth century
oil on canvas, cm. 82 x 65,
with antique frame cm. 88 x 72
Details of the work: https://www.antichitacastelbarco.it/it/prodotto/ritrait-of-fanciulla-allegoria-della-scultura-amigoni
This enchanting painting gives us the vision of a fascinating female figure emerging from the background shadow, and which we can identify in an allegorical key as the personification of the Art of Sculpture.
The features of the face, certainly inspired by a noblewoman of some European court, are enhanced by the light that softly highlights the delicate complexion, the rosy cheeks, the hairstyle embellished with a tiara, giving them, together with the fluffy drapery that envelop, an aura of suspended and seductive charm.
The painting is ascribed to the pictorial sentiment of the Venetian JACOPO AMIGONI (Venice, 1682 - Madrid, 1752), active in the first half of the eighteenth century and considered one of the most important European representatives of the Rococo pictorial culture.
The young woman, holding a small sculptor's chisel in her hand, touches the marble head of a classical, Roman or Greek female divinity with her arm, alluding to her representative role for noble sculptural art.
The compositional clarity, full of lightness and grace, combined with the attention to light and the luminous chromatic elegance that invests the figure, are elements that characterize the particular creative spirit of the Amigoni, and which we find in our portrait.
The result is a delicate, exquisitely Rococo portrait, affectionate but at the same time extremely elegant, proposed in an allegorical key, according to the best spirit expressed by the painter throughout his career. With the exception of a few stays in Italy, mainly in Venice, between 1740 and 1747, and perhaps in Rome, Amigoni worked in the major European courts, becoming extremely appreciated also as a portraitist of the high aristocracy.
From about 1717 to 1727 he was in Munich, England between 1729 and 1739, in Paris in 1736 and, from 1747 onwards, at the court of Ferdinand VI in Madrid, where he died in 1752. It is therefore strength that the his artistic vision developed a sensitivity for decoration and an expressive lightness corresponding to the client and his work ranged from fresco to adorn residential palaces and castles, portraits, mythological paintings and religious works cloaked in a delicacy of tones and easily recognizable poses.
The work, like all our objects, is sold accompanied by a photographic expertise with a descriptive card;
Contact us for any information.
We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.