Roman Mirror Barocchetto Period Rome Italy 18th Century

Oil painting on canvas. Lombard area of the late 18th century. The four canvases show scenes from Orlando Furioso, the famous epic poem written by Ludovico Ariosto and published for the first time in 1516. On the frame, on the back, there are handwritten writings in ancient Italian, which say the title of the scene and they give the reference of the song and the verse. All four scenes represent episodes taken from the first two songs of the poem and appear to be sequential. The attributive titles are as follows: 1- “This painting represents that Paladin galiardo (Rinaldo) son of Amone sig. di Monte Albano, which describes Ariosto in canto 1 to verse 12 ”: depicts the moment in which Rinaldo, on foot of his horse Baiardo, sees Angelica escaped from the camp of Namo di Baviera in the wood. 2- "This painting represents Angelica and Ferraù when she comes to their aid, which Ariosto describes in canto 1 verse 14": Angelica fleeing from Rinaldo, meets in the woods Ferraù, a noble Saracen knight who is also in love with the girl, who helps to escape by opposing the Christian knight. 3- “This painting represents Rinaldo and Sacripante who fall down, Angelica runs away from their fury. Ariosto describes it in Canto 2 verse 10 ": Rinaldo and Sacripante fight to compete for the love of Angelica, who in the meantime runs away. 4- “This painting represents Rinaldo and Sacripante in the act they fell for Angelica and were stopped by a spirit in the form of a Valletto. Ariosto describes it in canto 2 verse 15 ": while the two knights fight, Angelica meets a hermit, who, with a spell, evokes a spirit with the appearance of a footman, who interrupts the duel between the two contenders. The paintings therefore belong to a single pictorial cycle, attributable to the end of the eighteenth century and which, in accordance with the neoclassical taste, represents the characters in classical clothes - warriors dressed as ancient soldiers, Angelica dressed in a Roman tunic, shoes and bracelet - , but inserted in a landscape of Northern Italy, a shady and dense forest. The Orlando Furioso had the peculiarity of proposing the warlike theme associated with the love one (in particular the love story between Angelica and Medoro was preferred, which became the subject of numerous works by artists of all centuries) and obtained great popularity and success: His representations were numerous in all ranges of visual pictorial art, in stately frescoes, paintings, ceramics, even apothecary jars, cups, medals, pendulums, candelabra. It began in the Emilian land, the homeland of the poem created by Ariosto for Cardinal Ludovico D'Este, to arrive at the Medici courts, in Lombardy, where subsequently Ariosto's pictorial cycles were carried out in numerous palaces and stately homes. The canvases are presented in gilded style frames.

"L'arc en ciel" XVII Century

Oil painting on canvas. Northern European school of the seventeenth century. The large pastoral scene presents a broad landscape that pushes the gaze to the distant sea coast; on it the sky is gradually opening up, revealing flashes of blue on the left, while on the right, among the darker clouds left over from the storm, a large rainbow is revealed. In the foreground, a group of shepherds and shepherdesses enjoy amorous games, discrete and festive, in the midst of their herds, which rest and drink from the nearby stream. The whole scene is animated by a dimension of joyful relaxation and refreshment, as if the rainbow had restored serenity to the environment, bringing light and with it serenity to the world. The attribution to Jordaens is linked both to the typology of subject, the pastoral one, a recurring theme in the production of the Flemish artist, and to the pictorial modalities: in this work we find his warm and luminous colours, the strong contrasts of light and shadow, the robust figures with red and healthy faces, sometimes with satyristic features, the compositions full of figures that give an air of sensual vitality. Restored and relined, the painting is presented in a period gilded frame.

Tempera on paper, applied to hardboard. The biblical episode depicted, described in the book of Exodus, tells how young Moses, still at the court of the Pharaoh of Egypt, defends the seven young daughters of the priest Jethro, harassed by some Midianite shepherds while they draw water from the well. After his intervention, Moses will receive in marriage one of Jethro's daughters, Zipporah. This subject is very popular in art history, it is presented here with a particular attention to the portrait component, with a particular exacerbation of the expressive traits, both in the faces and the poses of the characters. The scene is very lively, with the figure of Moses in the centre, vigorous and combative, who divides the field in two: on his left the seven girls, each characterized by a different behaviour; on the right the importuning shepherds, who suffer the wrath of Moses. In the background, a landscape typical of 18th century productions, with an architectural ruin behind the well. The work is presented in a frame in style.