Oil painting on canvas. At the back of this attribution to Ferdinand Gate.
The scene suggests the time of the Holy Family resting during the flight into Egypt: left, sitting on the ground resting Mary, intent on reading, and Jesus already kid, but still childishly abandoned the mother's womb; on the right, standing albeit leaning against a rock behind, Giuseppe split up his family.
High above the cloud that envelops the fruit-laden tree that gave refreshment to the family, a host of angels, presented themselves not only in the guise of children but also of young men, almost to accompany the growth of Jesus.
The composition of the scene, as well as the representative mode of shapes and colors are suited to the pictorial mode of Ferdinando Porta.
The Milanese painter, son of Andrea Porta, Emilian artist footprint, established himself on the Lombard art scene after training at Bologna, where he was among the students of Charles Cignani.
Its production known today unfortunately only part of the fourth decade of the '700, because it's documented previous works for the Milanese churches and Casati palace Dugnani, have been lost.
They know however further work, some important commissions that made him finally say; between 1741 and 1753 he worked in the Basilica of Saint Ambrose in Milan, in the Cathedral of Monza and Cathedral of Vigevano, creating works that helped to define the character and extent of the pictorial mode of the port: solidly linked to the Lombard figurative tradition he after the initial Emilian influence, introduced in his painting mode which are affected in part, both in vigorous plasticity of the figures, both in the naturalistic characterization of allegorical or sacred themes, of Venetian painting, in particular of Tiepolo, with whom he had worked.
In observing of one of his later works, but considered among his best, the shovel Baptism of Christ realized by Porta between 1753 and 1754 for the cathedral of Vigevano, find themselves compositional mode and very close to those of the chromatic our Rest on the flight into Egypt, the figures, well-defined plastically but faded in the contours with color contrasts in the predominantly brown and cold tones as in the group of Mary and Jesus, the mind stands out the most though isolated brilliance of Joseph's coat; at the top of the composition of the angels, complex interweaving of bodies, which are not defined but almost hazy, as well as the landscape, lackluster and devoid of connotative elements. These are all elements that clearly show the links of the door with the tradition Lombard seventeenth century, which even earned him a broad consensus and fortune at the client both public and private in Milan and the neighboring cities, in a time when just beginning to take field neoclassicism.
The painting, in the first canvas but ritensionato, shows signs of restoration.
It 'available in stylish interior.
Get in Touch
Make An Offer
We noticed you are new to Pamono!
Please accept the Terms & Conditions and Privacy Policy
Get in Touch
Make An Offer
Almost There!
To follow your conversation on the platform, please complete the registration. To proceed with your offer on the platform, please complete the registration.Successful
Thanks for your inquiry, someone from our team will be in touch shortly
If you are a Design Professional, please apply here to get the benefits of the Pamono Trade Program