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unknow artist Entrada dos Animais na Arca de Noe painting


Entrada dos Animais na Arca de Noe
Entrada dos Animais na Arca de Noe
Painting ID::  75718
   Entrada dos Animais na Arca de No??, 1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. cjr
  Entrada dos Animais na Arca de No??, 1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. cjr

 
 
   
      

CASTIGLIONE, Giovanni Benedetto

Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.
CASTIGLIONE, Giovanni Benedetto Entrada dos Animais na Arca de Noe painting


Entrada dos Animais na Arca de Noe
Entrada dos Animais na Arca de Noe
Painting ID::  77480
   1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. Date 1650 - 1664 cyf
  1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. Date 1650 - 1664 cyf

 
 
   
      
CASTIGLIONE, Giovanni Benedetto
Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.
Entrada dos Animais na Arca de Noe
1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. Date 1650 - 1664 cyf
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