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LOT 20:
Giuseppe Diamantini (Fossombrone, 1623 - Venezia, 1705)
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Start price:
€
6,000
Buyer's Premium: 25%
More details
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Cain and Abel, Eighth decade of the seventeenth century
Oil painting on canvas
76x101 cm in a 97x122 cm frame
Accompanied by the report of Prof. Strinati: "The remarkable and valuable painting depicting the dead Abel with his background the figure of Cain in the distance (oil on canvas, cm.171 x 176) is a</p >
magnificent, and beautifully preserved autograph, in my opinion, by great Venetian painter although originally from the Marches(because he was born in
Fossombrone in 1623) Giuseppe Diamantini.
Diamantini is a very singular artist with an almost pre-Romantic taste and
long and complex parable that led him to settle for most of his life in Venice where he died in 1705 in a cultural climate, debtor
especially the cultured Bolognese tradition, very mutative compared to baroque assumptions typical of his youth.
Problems, these, amply illustrated in the valuable monograph
by A.M. Ambrosini Massari, M. Cellini, M. Luzi, Giuseppe Diamantini, 1623-
< p class="MsoNormal" style="color: rgb(109, 118, 126);">1795-painter and engraver from the Marches to Venice, Ancona, editorial work</o:p
2021.</ i>
The painting brought to my attention reflects the peculiar tendency of the
remarkable master towards the so-called "tenebrism", a typical trend
of various painters of the Venetian environment of the time but which in Diamantini finds a truly singular and highly personal creation.
Our painting dates precisely to the eighth decade of the century seventeenth when Giuseppe Diamantini, together with other eminent
painters, I participate in the artistic works in the magnificent Palazzo Gritti Badoer in Venice leaving you remarkable works that I think compare well with
painting in question.
The subject, both pathetic and tragic, was much loved by artists of the period and therefore Diamantini fits into a climate at a high level
figurative of fervent emotion and as if looming over the viewer.
The glimpse of the immersed figure appears extremely suggestive
in the deepest darkness, beautifully contrasting with the blinding flare of the jaw of an ass with which Cain, in the biblical story,
beat his brother to death.
An authentic little masterpiece." < /p>
Accompanied by the report of Prof. Strinati: "The remarkable and valuable painting depicting the dead Abel with his background the figure of Cain in the distance (oil on canvas, cm.171 x 176) is a</p >
magnificent, and beautifully preserved autograph, in my opinion, by great Venetian painter although originally from the Marches(because he was born in
Fossombrone in 1623) Giuseppe Diamantini.
Diamantini is a very singular artist with an almost pre-Romantic taste and
long and complex parable that led him to settle for most of his life in Venice where he died in 1705 in a cultural climate, debtor
especially the cultured Bolognese tradition, very mutative compared to baroque assumptions typical of his youth.
Problems, these, amply illustrated in the valuable monograph
by A.M. Ambrosini Massari, M. Cellini, M. Luzi, Giuseppe Diamantini, 1623-
< p class="MsoNormal" style="color: rgb(109, 118, 126);">1795-painter and engraver from the Marches to Venice, Ancona, editorial work</o:p
2021.</ i>
The painting brought to my attention reflects the peculiar tendency of the
remarkable master towards the so-called "tenebrism", a typical trend
of various painters of the Venetian environment of the time but which in Diamantini finds a truly singular and highly personal creation.
Our painting dates precisely to the eighth decade of the century seventeenth when Giuseppe Diamantini, together with other eminent
painters, I participate in the artistic works in the magnificent Palazzo Gritti Badoer in Venice leaving you remarkable works that I think compare well with
painting in question.
The subject, both pathetic and tragic, was much loved by artists of the period and therefore Diamantini fits into a climate at a high level
figurative of fervent emotion and as if looming over the viewer.
The glimpse of the immersed figure appears extremely suggestive
in the deepest darkness, beautifully contrasting with the blinding flare of the jaw of an ass with which Cain, in the biblical story,
beat his brother to death.
An authentic little masterpiece." < /p>
