8
Francesco Maglioli © (Napoli)
Architectural whim, 17th century
Oil painting on canvas
130X94 cm in a 161 x 125.5 cm frame
Small hole on the canvas.
"The interesting perspective rendering and the imaginative inventiveness in the construction of the architectural backdrop mean that the work in question can be attributed to Francesco Maglioli, a 17th-century Neapolitan painter with scant biographical information. In a glimpse of classical ruins, figures with measured gestures and draped robes stand out, examining the remains of glorious times gone by. The classicism that emerges from his paintings is the composite combination of soft colors, sharply cut shadows and acute study from life, common traits of the works in his limited catalogue. Maglioli confirms his ability to raise complex architectures, taking care to give shape to even the most particular finishes, demonstrating a refined technical expertise.
Signed on the back FM, the work is to be considered autographed. It was in fact common for the painter to mark his works with his name or his initials in capital letters as in the case of Capriccio portuale with Saint Peter healing a lame man preserved in the Verdini collection in Rome or Saint Peter exorcising the pagan idols from the Messinger Collection, Monaco."
Sestieri G., Architectural capriccio in Italy in the 17th and 18th centuries, vol. II, etgraphiae, 2015, pp. 326-331
ASOR Studio
"The interesting perspective rendering and the imaginative inventiveness in the construction of the architectural backdrop mean that the work in question can be attributed to Francesco Maglioli, a 17th-century Neapolitan painter with scant biographical information. In a glimpse of classical ruins, figures with measured gestures and draped robes stand out, examining the remains of glorious times gone by. The classicism that emerges from his paintings is the composite combination of soft colors, sharply cut shadows and acute study from life, common traits of the works in his limited catalogue. Maglioli confirms his ability to raise complex architectures, taking care to give shape to even the most particular finishes, demonstrating a refined technical expertise.
Signed on the back FM, the work is to be considered autographed. It was in fact common for the painter to mark his works with his name or his initials in capital letters as in the case of Capriccio portuale with Saint Peter healing a lame man preserved in the Verdini collection in Rome or Saint Peter exorcising the pagan idols from the Messinger Collection, Monaco."
Sestieri G., Architectural capriccio in Italy in the 17th and 18th centuries, vol. II, etgraphiae, 2015, pp. 326-331
ASOR Studio
€ 9.000,00
Starting price