Ghirlanda fiorita con ritratto della Vergine
Francesco Trevisani (Capodistria 1656 - Roma 1746) e Niccolò Stanchi (Roma 1623 - 1690)
Flower garland with a portrait of the Virgin
Francesco Trevisani (Capodistria 1656 - Rome 1746) and Niccolò Stanchi (Rome 1623 - 1690), attributable
Oil on canvas
66 x 49 cm.
In frame 76 X 60 cm.
The beautiful painting that we are pleased to present to you illustrates an opulent garland studded with a refined variety of flowers, set off by the contrast with the black background, distinguished by an elegant structure as well as the characteristic vivacity and brilliance of the colours. Inside is a portrait of the Virgin in prayer with her hands clasped to her breast.
This iconographic typology, namely the garland of flowers within which a sacred subject is inscribed, has Flemish origins, later spreading to Italy, to Rome in particular, where the first experiments in this sense can be traced back to Giovanni Stanchi and Mario Nuzzi, who were always indebted to Nordic culture, as can be seen from the ethereal naturalism that characterises their creations.
Entering into the details of our canvas, it is easy to deduce that it is the result of the successful collaboration of two painters who, as was customary for such creations, could devote themselves to their own specialisation, one to the religious image, the other to the garland of fresh flowers.
In particular, the half-bust of the Virgin is inspired by the Marian inventions of Francesco Trevisani (Capodistria 1656 - Rome 1746), fully reflecting his modus pingendi, with its typical expressive delicacy and marked taste for shaded, pearly colours. In particular, there are strong analogies with the work of the master, a fundamental reference point for many artists of the second half of the 17th century in Rome and an object of study and inspiration still relevant in the 18th century.
The elegant fluency of touch and sensual refinement typical of Trevisani, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Venice, and the exceptional sweetness of the drawing, the floridity of the complexion, and finally, the peculiar pose of the figure portrayed (the beauty of the two hands held to the chest is unmistakable), further support our attribution.
The garland can instead be attributed to the hand of the Roman painter Niccolò Stanchi (Rome 1623 - 1690), who distinguished himself among the best naturamortists active in Rome during the Baroque era.
The Stanchi family, Niccolò, Angelo and Giovanni, the workshop's founder, constituted one of the most fervent still life workshops in Baroque Rome from 1630 onwards, sought after by the most important families of the Roman aristocracy, from the Colonna to the Chigi to the Rospigliosi, and present in the Medici collections from the end of the century.
The painting is pervaded by a sumptuous elegance, given by the sinuous movement of the flowers, drawn with precision, and linked together in a sort of melody that unites them in a breath of Baroque taste, as well as by the ethereal figure of the Virgin in the centre of the canvas.
The counterpoint of the chromatic range accords the soft pinks of the peonies with the ethereal whites of the roses and orange blossoms, although what undoubtedly makes our canvas stand out and make it aristocratic is the preponderance of the intense blue of the anemones and hyacinths, which gives the composition a masterly touch of aristocratic elegance.
The work is completed by a beautiful gilded frame and is sold
accompanied by a certificate of photographic authenticity in accordance with the law.
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