MAGNASCO, Alessandro

Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,


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MAGNASCO, Alessandro Sacrilegious Robbery oil


Sacrilegious Robbery
Painting ID::  51215
Sacrilegious Robbery
1731 Oil on canvas
1731 Oil_on_canvas
   
   
     

MAGNASCO, Alessandro Storm at the Sea oil


Storm at the Sea
Painting ID::  52201
Storm at the Sea
Oil on canvas
Oil_on_canvas
   
   
     

MAGNASCO, Alessandro Interrogations in Jail oil


Interrogations in Jail
Painting ID::  52227
Interrogations in Jail
c. 1710 Oil on canvas
c._1710_Oil_on_canvas
   
   
     

MAGNASCO, Alessandro The Observant Friars in the Refectory oil


The Observant Friars in the Refectory
Painting ID::  52232
The Observant Friars in the Refectory
1736-37 Oil on canvas
1736-37_Oil_on_canvas
   
   
     

MAGNASCO, Alessandro Praying Monks - Oil on canvas oil


Praying Monks - Oil on canvas
Painting ID::  63842
Praying Monks - Oil on canvas
53,6 x 43,9 cm Museum voor Schone Kunsten, Ghent Praying Monks by Alessandro Magnasco is a good example of the brilliant sketching technique of this Italian artist, who was a transitional figure between the Baroque and Rococo. The impassioned figures are rendered against a dark and threatening background with rapid, irregular brushstrokes. Isolated and ecstatic monks and hermits often feature in the macabre scenes through which Magnasco conveyed his fantastic and critical vision of humanity. The emotional turbulence of his work was not unique in the Italian Baroque and Rococo, but it was certainly something of an extreme example.Artist:MAGNASCO, Alessandro Title: Praying Monks Painted in 1701-1750 , Italian - - painting : religious
   
   
     

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     MAGNASCO, Alessandro
     Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,

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