Painting, oil on canvas of the size of 119 x 130 without frame and 130 x 160 cm with frame, depicting a scene in the open air with a dog and card players of the painter Giacomo Francesco Cipper known as the Todeschini (Feldkirch 1664 - Milan 1736 ).
The different variants of the signature of this painter, documented from 1705 to 1736 in Lombardy, as well as the title of "German" added to his name, suggest that he worked for a long time in Italy as a foreigner. The work of the Cipper, for what is known so far, consists exclusively of genre scenes, mostly with large-format backgrounds, often with half-life or three-quarter life-size characters. The environment and the background are neglected by choice, and the spatial relations between people and objects are not clear.
The exaggerated characterization of the figures is a typical characteristic of our painter who loves trivial and popular depictions engaged in various occupations such as eating and drinking (alone, in two or in groups of several people), but also with other thematic elements such as musicians, often flute players, card or morra players, litigants, beggars, mother with child, and so on. The figures, who present themselves to the observer as on a stage with their miserable and patched clothes, do not want to provoke compassion for their desolate condition, but rather want to amuse.
This canvas most probably painted in its mature period a few years after its arrival in Italy, therefore probably between the years 15/25 of the 700 has a more clear and varied complexion, an attenuated plasticity and a precise design, almost dry, that goes most likely justified by the influence of Pietro Bellotti. The compositions become richer and more complicated, mostly full-length groups are placed in a rather large space which is also like an indeterminate set design, neither internal nor landscape, thus allowing the painter to avoid perspective representation. The most polished and striking style is a sign of the influence of Antonio Amorosi.
This representation, like his other works, is not immune to a good dose of irony, Il Cipper in his creative journey renews the seventeenth-century tradition of the Bamboccianti and rereads in a very personal way the examples of Monsù Bernardo and Magnasco with the extremely successful ambition of transpose his ideas with a 'monumental' spirit, devoting himself to a realistic definition of everyday objects, food and household goods. In this canvas, the subjects belong to the popular class, The painting embodies facets that the Cipper demonstrates to know how to lead with skill and spirit of observation, in symbiosis with a vibrant material and fast brush strokes, reaching an excellent quality level.
The complex scene in the foreground, as well as the splendid representation of the dog with those ears so large and almost plasticized, perhaps the true signature of the painter in this picture, surprises for the attention of the chromatic and luminous relationships between the various elements and for the accurate anatomical precision of the details.
Among the main examples, which have the same style as our painting, we should mention the arrotino and the fortune-teller gypsy of the Joanneum of Graz; the Gypsy Concerto, with many figures, from the Peloso collection in Novi Ligure (signed "Jacob Frances Zipper pinxit"), where the conductor presents an often recurrent attitude in the Cipper paintings; the genre scene of the Leningrad Hermitage, in which the woman who flies the fish and the splendid still life of seafood remember the picture in the Museum of Auxerre and the two pendants with Card Players and Morra Players, of the collection. private residence in Budapest.
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