LOT DETAILS

Materials:

oil on oval canvas, laid down on rectangular canvas

Size Notes:

each

Description:

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Condition:

framed

Exhibited:

Venice, Ca’ Pesaro, La pittura del Seicento a Venezia, 27 June - 25 October 1959, no. 135 A/B

Literature:

G. M. Pilo, G. M. Pilo, in: P. Zampetti (ed.), in: P. Zampetti (ed.), La pittura del Seicento a Venezia, La pittura del Seicento a Venezia, exhibition catalogue, exhibition catalogue, Venice 1959, Venice 1959, p. 87, p. 87, no. 135 A/B, no. 135 A/B, ill.;, ill.;, G. M. Pilo, G. M. Pilo, Irrequieto Seicento a Venezia, Irrequieto Seicento a Venezia, in: Il taccuino delle arti, in: Il taccuino delle arti, 1959, 1959, p. 2;, p. 2;, M. Valsecchi, M. Valsecchi, Il Seicento a Venezia e a Bologna, Il Seicento a Venezia e a Bologna, in: Arte Club, in: Arte Club, 1959, 1959, p. 17, p. 17, ill. (Pan and Syrinx);, ill. (Pan and Syrinx);, G. M. Pilo, G. M. Pilo, Giulio Carpioni, Giulio Carpioni, Venice 1961, Venice 1961, p. 105, p. 105, figg. 157 and 161 (detail);, figg. 157 and 161 (detail);, R. Pallucchini, R. Pallucchini, La pittura Veneziana del Seicento, La pittura Veneziana del Seicento, Milan 1981, Milan 1981, vol. I, vol. I, p. 215, p. 215, vol. II, vol. II, p. 736, p. 736, fig. 692 (Pan and Syrinx), fig. 692 (Pan and Syrinx), The present Pan and Syrinx is registered in the Fototeca Zeri (no. 56892) as Giulio Carpioni. Both paintings were included in the 1959 exhibition held at Ca’ Pesaro, The present Pan and Syrinx is registered in the Fototeca Zeri (no. 56892) as Giulio Carpioni. Both paintings were included in the 1959 exhibition held at Ca’ Pesaro, Venice dedicated to seventeenth-century Venetian painting., Venice dedicated to seventeenth-century Venetian painting., The present works are fine examples of the artist’s mature style of the late 1660s to early 1670s, The present works are fine examples of the artist’s mature style of the late 1660s to early 1670s, when Carpioni’s painting became increasingly less sculptural, when Carpioni’s painting became increasingly less sculptural, and more graphically refined. The paintings each represent a mythological episode: The Rape of Deianira and Pan and Syrinx and they belong among the painter’s production of profane subjects that are atmospherically reminiscent of Poussin’s Arcadian themes., and more graphically refined. The paintings each represent a mythological episode: The Rape of Deianira and Pan and Syrinx and they belong among the painter’s production of profane subjects that are atmospherically reminiscent of Poussin’s Arcadian themes., Both compositions, Both compositions, of oval format, of oval format, are illuminated by a clear cool light. The figures are fluid and elongated, are illuminated by a clear cool light. The figures are fluid and elongated, with the lithe forms of nymphs and the depiction of the fluttering drapery that appears almost weightless in the air. In contrast to his earlier mythological depictions in which Carpioni focused on the rendering of landscape to project an Arcadian atmosphere on his subjects, with the lithe forms of nymphs and the depiction of the fluttering drapery that appears almost weightless in the air. In contrast to his earlier mythological depictions in which Carpioni focused on the rendering of landscape to project an Arcadian atmosphere on his subjects, the present compositions are simpler in setting and atmosphere, the present compositions are simpler in setting and atmosphere, similar to other works of his from this period such as the Bacchanal in the Accademia Carrara, similar to other works of his from this period such as the Bacchanal in the Accademia Carrara, Bergamo., Bergamo., In Venice, In Venice, Carpioni was a pupil of Alessandro Varotari, Carpioni was a pupil of Alessandro Varotari, called il Padovanino, called il Padovanino, who introduced him to the early works of Titian. At the close of the 1630s Carpioni moved permanently to Vicenza where he asserted his ‘barocchismo classicizzante’, who introduced him to the early works of Titian. At the close of the 1630s Carpioni moved permanently to Vicenza where he asserted his ‘barocchismo classicizzante’, his classicising baroque style, his classicising baroque style, ,(see op. cit. Pallucchini, ,(see op. cit. Pallucchini, above all, above all, by Francesco Maffei., by Francesco Maffei

Provenance:

collection of Dr. Ivan Boscolo, Padua;, Mario Barbieri collection, Padua;, thence by descent to the present owner