https://www.galleriagiamblanco.com Dipinti antichi a Torino dal 1993 Wed, 02 Jun 2021 17:01:28 +0000 en-GB hourly 1 https://wordpress.org/?v=6.5.5 https://www.galleriagiamblanco.com/wp-content/uploads/2020/12/Icona-sito_Giamblanco-100x100.png https://www.galleriagiamblanco.com 32 32 https://www.galleriagiamblanco.com/en/prodotto/valerio-castello-genoa-1624-1659-davids-triumph/ Thu, 27 May 2021 16:29:53 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3432 HERE for a full description in the Catalogue Four centuries of painting, pg. 20-21]]> Artist: VALERIO CASTELLO (Genoa, 1624-1659)
Title: David’s Triumph
Medium: Oil on canvas
Dimensions: 144 x 198 cm
Period: 1600

]]> https://www.galleriagiamblanco.com/en/prodotto/paolo-gerolamo-piola-genoa-1666-1724-mary-magdalen-buying-scented-oils/ Thu, 27 May 2021 16:25:08 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3426 Painting subject to the Superintendency’s authorization. "This magnificent painting is entirely and exclusively the work of Paolo Gerolamo Piola’s paint brush. It was quite a feat for him to stand out as a unique autography in a workshop like Casa Piola, where pictorial polyphony was to be found amongst multiple members of the same family. Son, nephew, brother, brother-in-law and uncle of artists, Paolo Gerolamo’s talent was to emerge in his early youth, as was his immersion in a unique style of painting. For this, he was clearly favoured by his father Domenico (1627-1703) and destined to succeed him in the management of the largest hotbed of ligurian arts between the 17th and 18th centuries. The undisputed, exclusive refinement of his role, strongly influenced the ligustic scene: his pictorial style is appreciated by contemporary artists and patrons who indulge in the grafting of Roman accents that were introduced through Carlo's workshop ". Click HERE for a full description in the Catalogue of Italian painting from the 17th to the 20th century, 2013, pg. 34-35.]]> Artist: PAOLO GEROLAMO PIOLA (Genoa 1666-1724)
Title: Mary Magdalen buying scented oils
Medium: Oil on canvas
Dimensions: 135 x 203 cm
Period: 17th century

]]> https://www.galleriagiamblanco.com/en/prodotto/bernardo-strozzi-genoa-1581-venice-1644-parable-of-the-wedding-guest/ Thu, 27 May 2021 15:52:15 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3393 This canvas is currently kept at the Gallerie Accademia, Venezia. Bernardo Strozzi (also known as "the Capuchin" or "the Genoese Priest" for his biographical events), a fundamental figure in Italian painting in the early 17th century, was born in Genoa in 1581 and did his apprenticeship in the workshop of the Tuscan mannerist Pietro Sorri. A Capuchin Friar, due to judicial problems with his order, he moved to Venice in 1633, where, as an established artist, he immediately obtained important commissions. In 1636 Strozzi painted a large oval canvas to be placed on the ceiling above the main altar in the Venetian church Ospedale degli Incurabili, representing the "Parable of the wedding guest". The decorative project was completed several years later, alongside Padovanino's "Parable of the wise virgins and the foolish virgins" (completed in 1644) and the “Paradiso", begun by Sante Peranda in 1638 and completed after his death by Francesco Maffei. The iconographic reading of this composition obviously revolves around "Paradise", with the two parables alluding to the need for the soul to be ready to rise to heaven at the time of death. This large canvas, owned by the Giamblanco Gallery, is an extraordinary fragment of that composition. Click HERE for a full description in the Catalogue of Italian painting from the 17th to 18th century 2015, pg. 10-13]]> Artist: BERNARDO STROZZI (Genoa, 1581 – Venice, 1644)
Title: Parable of the wedding guest
Medium: Oil on canvas
Dimensions: 183 x 126,5 cm
Period: 1636

]]> https://www.galleriagiamblanco.com/en/prodotto/bernardo-strozzi-genoa-1581-venice-1644-allegory-of-painting/ Thu, 27 May 2021 15:46:59 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3389 This canvas is currently kept at the Galleria Nazionale di Palazzo Spinola. “The “Allegory of Painting”, kept for several years in the Zerbone collection in Genoa, only re-emerged in the antiques market in 1973; but from that moment on, it became an integral part of Bernardo Strozzi’s Catalogue, one of the leading artists in the first half of the 17th century Italy. Strozzi completes his initial training at the workshop of the Sienese painter Pietro Sorri at the end of the 16th century and then continues his activity in Genoa. In 1598 he is accepted into the Order of Friars Minor Capuchin and in 1609 and 1610 he asks permission from his superiors to be allowed to fully exercise his profession, to help support his mother and sister. In his first works, Bernardo looks at the models of late Mannerism used by his Tuscan master, but also by other Lombard artists such as Cerano, Procaccini and Morazzone. In Genoa he is given a chance to study closely masterpieces by Caravaggio and his followers, and by artists from the Flemish school, who are to be found in the best collections of the Superba, greatly enriching his figurative lexicon. During the twenties, he discovers in Pieter Paul Rubens the chromatic-mixture richness that will become his signature”. Click HERE for a full description in the Catalogue of Italian painting from the 17th to 18th century 2014, pg. 10-11]]> Artist: BERNARDO STROZZI (Genoa 1581 – Venice 1644)
Title: Allegory of painting
Medium: Oil on canvas
Dimensions: 130 x 94 cm
Period: 1600

]]> https://www.galleriagiamblanco.com/en/prodotto/bartolomeo-cavarozzi-viterbo-1587-rome-1625-holy-family/ Thu, 27 May 2021 15:43:55 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3386 HERE for a full description in the Catalogue of Italian painting from the 17th to 18th century 2014, pg. 12-15]]> Artist: BARTOLOMEO CAVAROZZI (Viterbo 1587 – Rome 1625)
Title: Holy Family
Medium: Oil on canvas
Dimensions: 156 x 118 cm
Period: 1617-1619

]]> https://www.galleriagiamblanco.com/en/prodotto/antonio-balestra-verona-1666-1740-sketch-for-the-altarpiece-in-the-church-of-san-gregorio-al-celio/ Thu, 27 May 2021 15:36:41 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3380 This painting is subject to notification by the Ministry of Cultural Heritage and Activities and ABAP Superintendency of Turin, with a declaration of cultural interest to protect the historical and artistic heritage. A high-caliber Venetian figure, Angelo Maria Querini (1680-1755), who was elevated to the rank of cardinal in 1727, had sought out Balestra for the Roman altarpiece. This painting, belonging to the Giamblanco Gallery that is presented here, is linked to that prestigious commission. In fact, there are few differences with the final version: the compositional setting and the position of the main characters appear to be completely overlapping, except that Gregory the Great’s right hand will be lowered, ready to write on the heavy book that an angel laboriously holds up for him. In this small canvas, a companion of  Gregory the Great occupies the lower left corner, as if to guard over the three Crowns that the Father of the Church seems to have abandoned on earth; all intent is on grasping the concept of the dove of the Holy Spirit. The Child Jesus frees himself from his mother's grasp, in a spontaneous and somewhat disjointed pose, which will be further enhanced in the Roman altarpiece. The greatest variation is found at the top right, where an adolescent angel holds a drape, as an improvised canopy for the celestial apparition. This detail will be replaced by two smaller and playful winged infants in the larger edition. A number of features allows this canvas too, to be attributed to the hand of Antonio Balestra: the drawing precision; the careful coating of matter, yet full-bodied; the sensitive direction of light, as revealed by the inlays of light and shadow that define the Child's body; the face of Saint Andrew, modelled in color notches; the surplice of St. Gregory, whose candour is virtuosically rendered with "soiled" colours; the beautiful creativeness of the angel at the top, who offers us his soft back in full light.]]> Artist: ANTONIO BALESTRA (Verona 1666 – 1740)
Title: Sketch for the altarpiece in the church of San Gregorio al Celio
Medium: Oil on canvas
Dimensions: 113 x 55,5 cm
Period: 1700

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