Lotto No. 165


Giuseppe Nuvolone


Giuseppe Nuvolone - Dipinti antichi

(Milan 1619-1703)
Armida and the sleeping Rinaldo,
oil on canvas, 159 x 176 cm, unframed

Provenance:
possibly collection of Luigi Cagnola (1764-1833), Milan;
Private collection;
where acquired by the present owner

Literature:
F. M. Ferro, Nuvolone: una famiglia di pittori nella Milano del ‘600, Soncino 2003, p. 263, mentioned under no. g 111 and p. 460, fig. 142b

The present painting by Giuseppe Nuvolone is a variant of a larger work (195 x 263 cm) in a private collection (see F. M. Ferro, Nuvolone: una famiglia di pittori nella Milano del ‘600, Soncino 2003, p. 263 no. g 111 and p. 460, fig. 142a). The singular format of the present work, which is almost square in shape, has induced Filippo Maria Ferro to suggest that it may be identified as the painting described in the inventory of the Milanese architect Luigi Cagnola of circa 1833: ‘14.15. Scuola del Panfilo uno rappresentante Rebecca al pozzo, l’altro Rinaldo e Armida L. 400’ [ ‘14.15. School of Panfilio one representing Rebecca at the well, the other Rinaldo and Armida L. 400’] (see literature).

This picture represents a scene from an episode narrated in Torquato Tasso’s Gerusalemme Liberata (canto XIV, 56-69): the sorceress Armida, wanting to claim revenge on Rinaldo, tempts him to an island, but when she finds him enfolded in a deep sleep, she falls in love with him and abducts him, taking him off to a remote island in the middle of the ocean. Compared to the variant in a private collection, the present painting reveals that far greater scope was given to the landscape background, while the sorceress is posed differently, and the putto in the upper left was omitted. Moreover, the composition refigures that of the fresco in the Sala di Plutone e Proserpina in the Palazzo Ferrero Fieschi at Masserano in Piedmont, which represents Venus and Cupid with Mars sleeping. Additionally, the figure of Rinaldo recalls that of the nephew of Cardinal Fossanova resuscitated by Saint Dominic painted by Giuseppe Nuvolone in a canvas for the Basilica of Cremona that is now conserved in the Museo Civico of the city. These comparisons demonstrate the ability and adaptability with which the artist was able to move between commissions, deploying similar models while transitioning between mythological, epic and religious themes.

Giuseppe Nuvolone belonged to a family of painters, he was the son of Panfilo and the brother of Carlo Francesco; Giuseppe was among the most active painters in the Lombard and Piedmont regions during the latter half of the seventeenth century and he often worked alongside other artists on large public and private enterprises. During the early stages of his career he frequently collaborated with his brother Carlo Francesco (1609-1662) as for instance in the case of the execution of the frescoes for the 10th and 17th chapels of the Sacro Monte di Orta.

11.12.2018 - 14:00

Prezzo realizzato: **
EUR 25.000,-
Stima:
EUR 20.000,- a EUR 30.000,-

Giuseppe Nuvolone


(Milan 1619-1703)
Armida and the sleeping Rinaldo,
oil on canvas, 159 x 176 cm, unframed

Provenance:
possibly collection of Luigi Cagnola (1764-1833), Milan;
Private collection;
where acquired by the present owner

Literature:
F. M. Ferro, Nuvolone: una famiglia di pittori nella Milano del ‘600, Soncino 2003, p. 263, mentioned under no. g 111 and p. 460, fig. 142b

The present painting by Giuseppe Nuvolone is a variant of a larger work (195 x 263 cm) in a private collection (see F. M. Ferro, Nuvolone: una famiglia di pittori nella Milano del ‘600, Soncino 2003, p. 263 no. g 111 and p. 460, fig. 142a). The singular format of the present work, which is almost square in shape, has induced Filippo Maria Ferro to suggest that it may be identified as the painting described in the inventory of the Milanese architect Luigi Cagnola of circa 1833: ‘14.15. Scuola del Panfilo uno rappresentante Rebecca al pozzo, l’altro Rinaldo e Armida L. 400’ [ ‘14.15. School of Panfilio one representing Rebecca at the well, the other Rinaldo and Armida L. 400’] (see literature).

This picture represents a scene from an episode narrated in Torquato Tasso’s Gerusalemme Liberata (canto XIV, 56-69): the sorceress Armida, wanting to claim revenge on Rinaldo, tempts him to an island, but when she finds him enfolded in a deep sleep, she falls in love with him and abducts him, taking him off to a remote island in the middle of the ocean. Compared to the variant in a private collection, the present painting reveals that far greater scope was given to the landscape background, while the sorceress is posed differently, and the putto in the upper left was omitted. Moreover, the composition refigures that of the fresco in the Sala di Plutone e Proserpina in the Palazzo Ferrero Fieschi at Masserano in Piedmont, which represents Venus and Cupid with Mars sleeping. Additionally, the figure of Rinaldo recalls that of the nephew of Cardinal Fossanova resuscitated by Saint Dominic painted by Giuseppe Nuvolone in a canvas for the Basilica of Cremona that is now conserved in the Museo Civico of the city. These comparisons demonstrate the ability and adaptability with which the artist was able to move between commissions, deploying similar models while transitioning between mythological, epic and religious themes.

Giuseppe Nuvolone belonged to a family of painters, he was the son of Panfilo and the brother of Carlo Francesco; Giuseppe was among the most active painters in the Lombard and Piedmont regions during the latter half of the seventeenth century and he often worked alongside other artists on large public and private enterprises. During the early stages of his career he frequently collaborated with his brother Carlo Francesco (1609-1662) as for instance in the case of the execution of the frescoes for the 10th and 17th chapels of the Sacro Monte di Orta.


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Asta: Dipinti antichi
Tipo d'asta: Asta in sala
Data: 11.12.2018 - 14:00
Luogo dell'asta: Wien | Palais Dorotheum
Esposizione: 06.12. - 11.12.2018


** Prezzo d'acquisto comprensivo di tassa di vendita e IVA

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