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	<title>1600 17th Century</title>
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	<description>Dipinti antichi a Torino dal 1993</description>
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	<url>https://www.galleriagiamblanco.com/wp-content/uploads/2020/12/Icona-sito_Giamblanco-100x100.png</url>
	<title>1600 17th Century</title>
	<link>https://www.galleriagiamblanco.com</link>
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	<item>
		<title>Giovanni Battista Carlone (Genoa, 1603 circa – Parodi Ligure, 1684 circa) &#8211; Joseph and Potiphar’s wife SOLD</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/giovanni-battista-carlone-genoa-1603-circa-parodi-ligure-1684-circa-joseph-and-potiphars-wife-sold/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Tue, 27 Jul 2021 11:04:29 +0000</pubDate>
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					<description><![CDATA[Camillo Manzitti attributed the unpublished painting to Giovanni Battista Carlone, the most famous
member of a family of artisans from Mendrisio area, that settled in Genoa around the mid–16th century.
[…]
This canvas, depicting the Biblical episode of Joseph and Potiphar’s wife (Genesis 39, 6-20), is to be
dated to the 1630’s, in Carlone’s early adult career: it seems to reinvent a dipinto da stanza by
Vermiglio depicting the same subject, now in a private collection and probably painted for a patron
from Milan (see Italian Paintings of the Seventeenth and Eighteenth Centuries, Allemandi, 2015)

[Serena D’Italia]]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>Giovanni Battista Carlone</strong> (Genoa 1603 &#8211; Parodi Ligure 1684)<br />
Title: Joseph and Potiphar’s wife, 1630-1640 circa<br />
Medium: Oil on canvas<br />
Dimensions: 135 x 165 cm<br />
Period: Seicento</p>
<p>Unpublished</p>
<p>Painting with certificate of free circulation</p>
<p>SOLD</p>
<p>Expertise by prof. Camillo Manzitti</p>
]]></content:encoded>
					
		
		
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		<item>
		<title>Valerio Castello (Genoa 1624-1659), David’s Triumph</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/valerio-castello-genoa-1624-1659-davids-triumph/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:29:53 +0000</pubDate>
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					<description><![CDATA[The painting, a masterpiece of the artist's maturity, represents the biblical story, from the First Book of Samuel, whereby the young shepherd David, after killing the terrible Goliath with a simple sling, triumphantly enters Jerusalem carrying the giant’s severed head atop a sword. Castello sets up an extraordinary Baroque theatrical scene, based on the biblical text ("When the men were returning home after David had killed the Philistine, the women came out from all the towns of Israel to meet King Saul with singing and dancing, with joyful songs and with tambourines and lutes. As they danced, they sang: "Saul has slain his thousands, and David his tens of thousands"), all built on the diagonal lines of the great chariot and the figures of the procession, which converge in the center directing the viewer's gaze ...

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-Quattro-Secoli-di-Pittura.pdf">HERE</a> for a full description in the <em>Catalogue Four centuries of painting</em>, pg. 20-21]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VALERIO CASTELLO</strong> (Genoa, 1624-1659)<br />
Title: <em>David’s Triumph</em><br />
Medium: Oil on canvas<br />
Dimensions: 144 x 198 cm<br />
Period: 1600</p>
]]></content:encoded>
					
		
		
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		<item>
		<title>Paolo Gerolamo Piola (Genoa 1666-1724), Mary Magdalen buying scented oils</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/paolo-gerolamo-piola-genoa-1666-1724-mary-magdalen-buying-scented-oils/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:25:08 +0000</pubDate>
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					<description><![CDATA[<strong>Painting subject to the Superintendency’s authorization.</strong>

"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 <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-Pittura-italiana-dal-Seicento-al-Novecento.pdf">HERE</a> for a full description in the <em>Catalogue of</em> <em>Italian painting from the 17th to the 20th century,<strong> </strong>2013,</em> pg. 34-35.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>PAOLO GEROLAMO PIOLA </strong>(Genoa 1666-1724)<br />
Title: <em>Mary Magdalen buying scented oils</em><br />
Medium: Oil on canvas<br />
Dimensions: 135 x 203 cm<br />
Period: 17th century</p>
]]></content:encoded>
					
		
		
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		<item>
		<title>Paolo Gerolamo Piola (1666 &#8211; 1724), Diana/ Venus</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/paolo-gerolamo-piola-1666-1724-diana-venus/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:22:58 +0000</pubDate>
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					<description><![CDATA[<strong>Both canvases are in a good state of conservation. </strong>

The sophisticated lightness of Venus, with her hair and decorative ribbons blowing in the wind, surrounded by flying birds attributed as doves, and the detached elegance of Diana, dressed in flowing drapery and escorted by three dogs in colourful furs, complement each other alongside the magnificent beauty ... (For the complete description, see Domenico Piola 1628 - 1703 in Paths of Baroque painting, edited by Daniele Sanguineti, Sagep Editori, 2017)

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf"><u>HERE</u></a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 42-43]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>PAOLO GEROLAMO PIOLA</strong> (1666 – 1724)<br />
Title: <em>Diana</em><br />
Medium: Oil on canvas<br />
Dimensions: 76, 5 x 179 cm<br />
Period: 1600</p>
<p>Title: <em>Venus</em><br />
Medium: Oil on canvas<br />
Dimensions: 76, 5 x 179 cm<br />
Period: 1600</p>
]]></content:encoded>
					
		
		
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		<item>
		<title>Orazio Riminaldi (Pisa 1593 &#8211; 1630), David displays the severed head of the giant</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/orazio-riminaldi-pisa-1593-1630-david-displays-the-severed-head-of-the-giant/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:21:03 +0000</pubDate>
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					<description><![CDATA[<strong>This painting carries a certificate of free circulation.</strong>

This archetype David depicted with the severed head of the giant Goliath is found in one of Caravaggio's latest works, the David with the head of Goliath of the Borghese Gallery. In both paintings, David is depicted in half-bust, which is illuminated by a light that falls directly onto his body, alongside contrasting shades of light/shadow that define it; but the Caravaggesque matrix of this painting will also be found in its multiple variations, produced by Manfredi, Simon Vouet and Nicolas Tournier. One would almost say that this David, ruthless on the battlefield, stands here to represent, in the early part of the 17th century, the 'quietism' of Torquato Accetto in the political field ...

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-Quattro-Secoli-di-Pittura.pdf">HERE</a> for a full description in the <em>Catalogue Four centuries of painting 2016</em>, pg. 16-17]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>ORAZIO RIMINALDI</strong> (Pisa 1593 – 1630)<br />
Title: <em>David displays the severed head of the giant</em><br />
Medium: Oil on canvas<br />
Dimensions: 114 x 93 cm<br />
Period: 1615 ca</p>
]]></content:encoded>
					
		
		
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		<item>
		<title>Guglielmo Caccia known as Il Moncalvo (Montabone 1568 &#8211; Moncalvo 1625), Saint George</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/guglielmo-caccia-known-as-il-moncalvo-montabone-1568-moncalvo-1625-saint-george/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:14:24 +0000</pubDate>
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					<description><![CDATA[“This beautiful unpublished painting, found in an excellent state of conservation, depicts St. George of Cappadocia on horseback sheathing his sword. The dragon lays on the ground dying, almost trampled by the white steed. A smiling angel is about to place a crown on the saint's head, while in the background, on the left, the painter depicts St. George’s martyrdom; according to hagiography, he was decapitated following a series of horrible torture and torments. In truth, these are all events lacking documentation; they were brought to life by Pope Gelasius in his apocryphal text Passio Sancti Georgii in 496 and have developed over time through folk retelling. What we don’t find in this painting, is the figure of the princess that was freed by the saint. "

(Expert appraisal carried out by Alberto Cottino)

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 16-17]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>GUGLIELMO CACCIA </strong>known as<strong> IL MONCALVO</strong> (Montabone 1568 – Moncalvo 1625)<br />
Title: <em>Saint George</em><br />
Medium: Oil on canvas<br />
Dimensions: 196 x 133 cm<br />
Period: 1600</p>
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		<title>Giovanni Battista Beinaschi (Fossano 1634/1636 &#8211; Naples 1688), Jacob’s dream</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/giovanni-battista-beinaschi-fossano-1634-1636-naples-1688-jacobs-dream/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:06:32 +0000</pubDate>
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					<description><![CDATA[The painting is an unpublished work by Giovanni Battista Beinaschi. [...]. The darkness is typical of the artist, as is the dynamic impetus, the contrasting luminism, the long and flowing brushstroke, the diagonal stroke present in all his compositions, according to his characteristic interpretation of Lanfranchism in Baroque key [...]. Similarly, to Pierfrancesco Mola, Luca Giordano, Sebastiano Ricci or Paolo De Matteis, Beinaschi was also a wanderer and itinerant, who was able to absorb a wide range of influences during his travels around Italy, and during his lengthier stays in Rome and Naples where he made the frescoes of numerous churches.

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 50-51]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>GIOVANNI BATTISTA BEINASCHI</strong> (Fossano 1634/1636 – Naples 1688)<br />
Title: <em>Jacob’s dream</em><br />
Medium: Oil on canvas<br />
Dimensions: 144 x 195 cm<br />
Period: 1675 – 1680</p>
]]></content:encoded>
					
		
		
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		<title>Francesco Cairo (Varese 1594 &#8211; Milan 1674), Venus, Mars and Cupid</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/francesco-cairo-varese-1594-milan-1674-venus-mars-and-cupid/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:02:09 +0000</pubDate>
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					<description><![CDATA[Francesco del Cairo was born in 1598 near Varese and died in Milan in 1674. A pupil of Morazzone, he then worked as a court painter on portraits and historical paintings for the Duke Vittorio Amedeo di Savoia in Turin. His exposure to Venice and Rome made him, according to his ancient biographers, more gentle in his painting. And finally, in Milan, he was very active as a portraitist and painter of religious themes.

His works can be found in Milan in S. Carlo, in S. Vittorino, in S. Antonio Abate; in the Certosa of Pavia; in the parish church of Varese; in the church of S. Teresa in Piacenza; in S. Bartolomeo in Modena, degli Scalzi in Venice; in the Royal Art Gallery of Turin there is a painting of his, “Christ in the garden of Gethsemane”, dating to before 1635; in the Parma Gallery the paintings “Virgin of the Rosary” and “Martyrdom of St. Margaret” are attributed to him; in the Pinacoteca di Brera there is a self-portrait of him and there is a portrait of him as a young man in the State Museum of Vienna; in the Dresden Gallery there is “Venus with Apollo and Cupid”.

He is one of the most distinguished painters of the Lombard Baroque alongside Morazzone, Cerano and Procaccini. His paintings are full of movement and dramatic touches; dark shades prevail, illuminated by unexpected flashes.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>FRANCESCO CAIRO</strong> (Varese 1594 – Milan 1674)<br />
Title: <em>Venus, Mars and Cupid</em><br />
Medium: Oil on canvas<br />
Dimensions: 122 x 154 cm<br />
Period: 1600</p>
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		<title>Daniel Seiter (Vienna 1647 – Turin 1705), Io transformed into a heifer with Juno and Argo</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/daniel-seiter-vienna-1647-turin-1705-io-transformed-into-a-heifer-with-juno-and-argo/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 15:58:14 +0000</pubDate>
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					<description><![CDATA[This large unpublished canvas by Daniel Seiter has been identified by Guendalina Serafinelli (undertaking a study of this artwork and providing us with some previews), in the inventory of the collection of Emanuele of Portugal, drawn up in Rome in 1686. The document also provides detailed information on the cost of the painting and its frame, which was paid by the patron for thirty and eight scudi respectively. The canvas depicts the mythological story of Jupiter and Io, whereby the princess Io, transformed into a heifer by the god to save her from the jealousy of his wife Juno, is handed over by the latter to the faithful Argos to watch over her. Argus will then be killed by Mercury, instructed by Jupiter to free Io, and the young woman, after numerous vicissitudes, will finally arrive in Egypt, where according to legend she will resume human form and will be venerated with the name of Isis.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>DANIEL SEITER</strong> (Vienna 1647 – Turin 1705)<br />
Title: <em>Io transformed into a heifer with Juno and Argo</em><br />
Medium: Oil on canvas<br />
Dimensions: 121 x 167 cm<br />
Period: 1600</p>
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		<title>Daniel Seiter (Vienna 1647 – Turin 1705), Diana and Orion</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/daniel-seiter-vienna-1647-turin-1705-diana-and-orion/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 15:56:26 +0000</pubDate>
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					<description><![CDATA[Work exhibited at the exhibition <em>Defying the Baroque, Rome Turin Paris 1680 - 1750</em>, held in Venaria Reale from 30th May to 20th September 2020, designed by the Fondazione 1563 per l’Arte e la Cultura and organised by the Consorzio delle Residenze Reali Sabaude.

Provenance: private collection of the Baglioni family.

In this vigorous painting, the Viennese artist portrays on canvas the myth of Diana and Orion, a myth with few figurative representations. The painter orchestrates the entire composition around the tragic moment in which the goddess, in a vain attempt to bring the beautiful Orion back to life, turns the fatal dart upon Aesculapius. The dark sky under which the scene comes alive contrasts the white body of the hunter, evoking the drama of a murder that mistakenly took place, because Diana had been deceived by her jealous brother Apollo. The painter hereby renews his love for this theme, having previously produced <em>Diana next to the corpse of Orion</em>, safeguarded by the Louvre Museum, as well as in the tondo inserted in the vault of the Bedroom of Vittorio Amedeo II of Savoy, inside the Royal Palace of Turin.

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-venticinque-anni-di-attivita.pdf">HERE</a> for a full description in the <em>Catalogue Twenty-five years of activity 2017/2018</em>, pg. 56-57.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>DANIEL SEITER</strong> (Vienna 1647 – Turin 1705)<br />
Title: <em>Diana and Orion</em><br />
Medium: Oil on canvas<br />
Dimensions: 174,5 x 155 cm<br />
Period: 1685</p>
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