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 MAGNASCO, Alessandro
 Italian Rococo Era Painter, 1667-1749
 

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MAGNASCO, Alessandro Praying Monks - Oil on canvas oil painting on canvas

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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
Italian Rococo Era Painter, 1667-1749
Pintura identificación::  63842




MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749
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

Related Paintings to MAGNASCO, Alessandro :.
| Portrait of Heleny Modrzejewskiej | Weiblicher | The Taking of the English Flagship the Royal Prince | Vanitas still-life in the background Christ in the House of Mary and Martha | Le Pas de Suze force par Louis XIII |


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