Oil painting on canvas measuring 140 x 215 cm without frame and 160 x 235 cm with a contemporary frame depicting the drunkenness of Noah by the painter Giovanni Andrea De Ferrari (Genoa 1598 - 1669).
This painting, executed on a more horizontal and elongated format albeit with variations compared to the version present at the National Gallery of Parma, is an unpublished autograph by Giovanni Andrea de Ferrari illustrating a biblical story, namely the drunkess of Noé.
In the book of Genesis (9, 20 - 27) it is said that Noah, having built a vineyard and having drunk too much one day, was found in a state of drunkenness by Cam, who informed the brothers after observing him with curiosity; which was reproached to him by the brothers Sem and Lafet who instead approached Noah and walking backwards to avoid seeing his naked father approached and covered him with a cloak.
De Ferrari formed in the workshop of Bernando Castello first (1610 - 1612) and of Bernardo Strozzi after (1613 - 1619) initially performs works that are placed in the close orbit of the Cappuccino of which he takes the subjects the physiognomies and above all the taste for a painting free and made with pure color. Its maturation sees him progressively moving away from the master's ways and approaching other painters in the 1920s. The knowledge of Fiasella in the fourth decade of the century will be fundamental. These are the years in which the painter sees his artistic maturity approaching, when he acquires a style of his own that combines the coloristic taste of strangling ancestry with the new lesson of a pictorial drawing for veiling introduced in Genoa by Flemish painters such as Van Dyck and Jan Roos.
It was precisely in the 40s that our canvas was placed exactly in coincidence with the painter's abandonment of the size of the altarpiece to devote himself to easel works for private clients and with the color shattering into vibrant and totally detached touches from a formal constraint.
In addition to this and that of the National Gallery, we also know a third canvas of similar subject owned by the Linguistic Academy of Fine Arts of Genoa on deposit at Palazzo Bianco a little smaller and differently composed.
The figures, represented here in their bodily solidity and in their monumentality, constitute a salient element of De Ferrari's painting capable of combining Strozzi's realism with Vandich's chromatic writing with fresh Fiasellesche suggestions.
This painting, in excellent condition, comes from a private home; he also possesses the expertise of Professor Anna Orlando, the publication of the same professor in the book Paintings of the Genoese from the sixteenth to the eighteenth century, finds from private collectors and was exhibited in an exhibition in Verona at the Palazzo della Guardia April - August 2015 entitled Art and Wine curated by Annalisa Scarpa and Nicola Spinosa.
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