Oil painting on canvas

cm. 47 x 62

with antique frame cm. 63 x 78 cm.

We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno.

It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative.

The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works.

The painting, characterized by a multitude of characters, shows the scene of the Crucifixion on Mount Calvary, where the three crosses stand out against the background illuminated by a clear light, in an almost otherworldly atmosphere of a mountainous river landscape in front of the city of Jerusalem. in the distance. Watching the dying Christ tortured we can see the three Marys, with the Virgin in red dress and blue cloak, surrounded by other women and soldiers, some of them on horseback, one of whom holds a spear with which he inflicted the wound in the side of Christ. In the foreground, again, numerous men, women and children, who attend the scene of the Crucifixion.

The bright and clear colorism of the work in question is typical of Neapolitan painting between the end of the seventeenth century and the beginning of the eighteenth century. The composition also betrays the influence of Roman classicism prevailing at the end of the seventeenth century.

The bright and clear colorism of the work in question is typical of Neapolitan painting between the end of the seventeenth century and the beginning of the eighteenth century. The composition also betrays the influence of Roman classicism prevailing at the end of the seventeenth century.

The work is presented in a very good state of conservation, completed by a valuable antique frame in gilded wood. Complete painting with certificate of authenticity in accordance with the law.

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