17th century Roman School attributed to Francesco Trévisani (1656-1746), cavalier, says Romano
The rest of the holy family in a landscape, the Archangel Gabriel in adoration, the ancient Rome in the background with the pyramid of Cestius.
Canvas rentoilée (old liner) of 98 cm by 72 cm
Old frame of 124 cm by 100 cm
Our painting is a remarkable example of this 17th century Rome school with a leader called Carluccio della Madone, Carlo Maratti (1625-1713), his workshop and his pupils including Francesco Trévisani, Guiseppe Bartolemo Chiari (1654-1727) but also Giovanni Odazzi (1663-1731) to name a few.
It is by design that I quote Trévisani, Chiari and Odazzi. We find in their Art many concordant signs that bring us closer to the picture.
Other painters can be considered, I think Ercolle Graziani the father (1651-1726) of which few paintings have reached us but on one of them we can admire a Gabriel angel with hair and wings surprisingly close to our canvas.
However, it is to Francesco Trevisani that we must look especially for this marvelous Mary with her baby Jesus straight inspired by Maratti but less supported mannerism (the style has evolved in the students of the Master), represented in many of his works. It should also be noted, among other details, the entire composition to Arcadian and idyllic taste. (we find this point in the evolution of the artist's work)
Francesco Trevisani (1656-1746)
It is with his father, the architect Antonio Trevisani, that he learns the basics of drawing. His training continues in Venice as a student of Antonio Zanchi and Rome with Carlo Maratti.
He left in 1678 to Rome where he spent his entire career. He is quickly employed by Cardinal Flavio Chigi, for whom he performs, among other works, two altarpieces for the Cathedral of Siena, Christ between St. Philip and St. James, in 1687 and The Martyrdom of the Four Saints crowned in 1688. His mentor in Rome is the Venetian cardinal Pietro Ottoboni, nephew of Alexander VIII, prominent figure of the Academy of Arcadia, and one of the most important patrons of the moment, who protects the young Filippo Juvarra and some composers like Arcangelo Corelli, Alexander Scarlatti and Georg Friedrich Händel.
Trevisani is officially admitted to the Academy in 1712 and adopts the ideals. It goes beyond the baroque tendencies for simpler compositions, a more sober expression of feelings, delicate tones and a more functional use of light to serve representation.
In Rome, he becomes one of the most important artists that continues in the wake of Carlo Maratta. His students include Francesco Civalli and Ludovico Mazzanti.