Painting oil on canvas, 75 x 107 cm without frame and 85 x 117 cm with an ancient coeval frame, depicting Orpheus enchanting animals with the music of the painter Ernest Daret known as Monsù Ernesto (Brussels before 1670 - Venice after 1725) .
If we were to choose a work that illustrates with illuminating evidence the contamination between pictorial schools and strongly characterized referential platforms, the painting in question would rise to a true exemplum.
The visual impact, in fact, directs the critical investigation towards the Flemish hinterland, which sees Jan Brueghel the Elder (Brussels, 1586-Antwerp, 1625) and his school assiduously attending the theme depicted, that is Orpheus who with the power of music enchants the animals, taming even the wildest beasts.
The episode, narrated in the Virgilian Georgics (book IV) and in Ovid's Metamorphoses (book XI), enjoyed undoubted figurative fortune in the whole of Europe starting from the Renaissance, leaving important evidence in Italy in the complex frescoed by Giulio Romano (Rome , C. 1499 - Mantua, 1546) in Palazzo Te '(Mantua).
Depending on the geographical areas of the respective schools, the lucky subject is shaped by the sensitivity of the artists, in turn conditioned by the cultural background of reference, who in the aforementioned Brueghel privileges the minute investigation of reality, taking inspiration from the classical narrative to offer the viewer a "encyclopedic" review of plants and animals. This determines a compositional cut that highlights the first floor, populated by a dense array of zoomorphic and phytomorphic specimens, placing Orpheus in a more backward position, as happens in one of the numerous versions of the Flemish school preserved at the Galleria Borghese in Rome or a famous version by Sinibaldo Scorza (Voltaggio, 1589-Genoa, 1631).
This last work testifies the undoubted penetration of the Nordic culture in northern Italy, which already in the Baroque era boasts an extraordinary assimilation.
The compositional assonances with the painting under study appear undoubtedly compelling - to reiterate what has just been referred to -, although the latter clearly differs from them on a stylistic and formal level. If the Ligurian master "immerses himself" in his own referent following in his footsteps with the orthodoxy of the devoted disciple, the author of our painting transfers the same theme to the canvas through a loose and immediate language, obliterating the accurate handwriting and the lenticular care of the detail in favor of the atmosphere and the strength of color: Ingredients, the latter, basic to the Venetian pictorial recipe.
Never before has there been such a courageous and fascinating contamination between two pictorial schools - which also represent two distinct visions of the world and of art -, carried out by a master who grew up in Flanders and emigrated to the territories of the Serenissima, as happened to Emest Daret, better known as Monsù Emesto (Brussels, before 1670; Venice?, after 1725).
Known for his landscapes with popular scenes snatched from oblivion by Antoniazzi Rossi (1974-75), in this case he proves to be a personality very rich in stimuli and much more complex than what the pictorial testimonies have handed down to us so far.
One of his guiding characters, inevitable in all his works, is a large rocky spur in the background, which seals evanescent backdrops like a wide signature; identical to the one that stands, almost as a protagonist, at the center of the work in question, replacing the usual large tree of the numerous pictorial and graphic essays known to us. Furthermore, the lively and captivating ductus expresses the spirit of the "pioneers" (Spadotto, 2014) - that is, of the first generation of landscape and landscape painters in Venice - in the brushstroke, which would have laid the foundations to give a new identity to the "genres foresti ", inaugurating the" magnificent fortunes "of the golden age.
Delevery information :
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for the delivery:
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24 000 €
15 000 €