Oil painting on canvas measuring 59 x 47 cm without frame and 65 x 53 cm with frame depicting a landscape with figures, fisherman and a strong sense of perspective by the Venetian painter Antonio Diziani (Venice 1737 - 1797).
The painting in question, depicting a rural glimpse with villagers and a rustic village in the distance, must be assigned to the first artistic maturity of Antonio Diziani (Venice 1737-1797), son of the famous figurist Gaspare (Belluno, 1689 - Venice, 1767) and appreciated by contemporary for the ability to paint countries in a tasty way, that is, in the seventh decade of the XVII century.
This chronology is deduced from the comparison with one of the few specimens of certain autography referable to the Venetian master: the Landscape with the Magdalene, presented as an admission essay to the Academy of Fine Arts in Venice in 1766.
The two paintings share the first floor in penumbra, from which the figures of evident Zuccarellian ancestry emerge with strong chromatic evidence, it is no coincidence that the work was assigned to the Pitiglianese in collaboration with Gaspare up to the contribution of Fogolari (1913), to which the sky streaked with pink and the blue mountains, of clear Arcadian matrix.
Antonio, however, shows that he knows how to rework the illustrious referent in a realistic key, transforming a Virgilian lyric into a light-hearted tranche de vie thanks to the expedient of placing a realistic fishing net in the hands of the classicizing semi-naked villain. Moreover, the phytomorphic element also betrays the most genuine inspiration of the Venetian painter, connoting itself for the sparse, essential foliage that stands out against the meridian sky the peculiar foliage spread with quick strokes of the brush, according to an executive practice peculiar in Antonio (cf. . Road leading to the village, Verona, Banca Popolare).
The same cannot be said of the general tenor of the work, which proves to be very distant in inspiration and style from the famous cycle with the Four Seasons preserved in the Civic Museum of Padua, where the Nordic heritage is reinterpreted through the rich referent, with results of extraordinary expressiveness.
Our painting, on the other hand, belongs to a more "orthodox" register, inclined to favor the taste of the time through the Zuccarelian recipe in the same way as the refined academic essay referred to above and another example preserved in the same location. Hence the full and rounded figures on the first floor, which nevertheless give way to the filiform couple in the distance, seal of that darting realism at times even visionary of the Dizianesque essays best known to the general public.
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