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	<title>1700 18th Century</title>
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	<description>Dipinti antichi a Torino dal 1993</description>
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	<title>1700 18th Century</title>
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	<item>
		<title>Vittorio Amedeo Cignaroli (Turin 1730 – 1800), Landscape with wayfarers and herds near a bridge</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-cignaroli-turin-1730-1800-landscape-with-wayfarers-and-herds-near-a-bridge/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:36:32 +0000</pubDate>
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					<description><![CDATA[This delicate and airy rural scene, probably attributable to the painter's early maturity, towards the mid 1760s, highlights Cignaroli’s great skill in rendering the luminous and atmospheric effects, noticeable in particular in the slight chromatic variations between the foliage of the trees, in the gradual fading of the horizon light and in the silvery transparency of the water. Great care is also put into the representation of the figures in the foreground, skilfully constructed with swift touches of colour, and to the imaginary building that stands out against the scenic background.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO CIGNAROLI </strong>(Turin 1730 – 1800)<br />
Title: <em>Landscape with wayfarers and herds near a bridge</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 65,5 x 101<br />
Period: 1765 c.a</p>
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		<title>Vittorio Amedeo Rapous (Turin 1729 -1800), Virgin Mary and blessing child</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-rapous-turin-1729-1800-virgin-mary-and-blessing-child/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:34:39 +0000</pubDate>
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					<description><![CDATA[“The canvas depicting the Madonna and blessing child is an exciting discovery for lovers of 18th century Piedmontese art and for painting enthusiasts in general. It is in fact a painting of excellent quality and in an excellent state of conservation which, in my opinion, is the work of one of the most important and capable artists that the 18th century Piedmont can boast of: Vittorio Amedeo Rapous.

The following brief description is in part taken from a larger essay, edited by the writer, which is dedicated to a series of unpublished paintings by Rapous found in public and private collections. These were discovered during the years of study of 18th century Piedmontese art. All bibliographic and documentary articles are thus highlighted and widely discussed in the above-mentioned essay, which is currently in press, and will be part of the volumes of the Società Piemontese di Archeologia e Belle Arti (publication is expected within the first half of 2018).

Vittorio Amedeo Rapous, baptized on 7th July 1729 in Turin, was thirty-five years younger than the master Claudio Francesco Beaumont; in 1748, at the age of nineteen, he enrolled at the School of Drawing chaired by the court painter, where he will remain enrolled as a boarder until 1755 (Graffione, 2011, p. 114.). As early as 1751 Beaumont began to entrust him with works such as the pictorial decoration, together with Domenico Molinari and Niccolò Peiroleri, of the sculptures of the Addolorata, which had been sculpted by the Clemente brothers for the SS. Annunziata di Torino (Tamburini, 2002, pp. 209-210; Graffione, 2011, p. 114). "

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. 76-77]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO RAPOUS</strong> (Turin, 1729 -1800)<br />
Title: <em>Virgin Mary and blessing child</em><br />
Medium: Oil on canvas<br />
Dimensions: 80×64 cm<br />
Period: 1760-65 circa<br />
State of conservation: good</p>
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		<title>Vittorio Amedeo Cignaroli (Turin 1730 &#8211; 1800), Arcadian landscape with noblewomen by the jetty</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/vittorio-amedeo-cignaroli-turin-1730-1800-arcadian-landscape-with-noblewomen-by-the-jetty/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:32:10 +0000</pubDate>
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					<description><![CDATA[[...] of particular charm, disclosing and narrating the happy tale of Arcadia with  noblewomen and knights and their delightful easy-life. The figures represent noble women, immersed in a fresh and luminous bucolic atmosphere in the countryside, on the banks of a small river, interacting with a river boat: they represent the fortunate Piedmontese aristocracy, who live in an imaginary pastoral community, in which agrarian  land is borrowed as the garden. In this fictitious pastoral world tender loves blossom and the sentimental air of this rural scenery is restricted, like the dimensions of a small paradise, to the dimensions of this canvas.

Like the nymphs of certain Arcadian painters, Turinese ladies on vacation stroll among flowers, dance on lawns, dine on grass: on canvas, the poetic arcadia is elevated to lightness, gallant and gracefulness, tending to create attractive shades, in consonance with the figurative developments of the Rococo…

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/03/Catalogo-Pittura-italiana-dal-Seicento-al-Settecento-2015_.pdf">HERE</a> for a full description in the <em>2015 Giamblanco Catalogue</em>, pg. 78.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>VITTORIO AMEDEO CIGNAROLI </strong>(Turin 1730 &#8211; 1800)<br />
Title: <em>Arcadian landscape with noblewomen by the jetty</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 79 x 107<br />
Period: 1700</p>
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		<title>Tommaso Maria Conca (Gaeta 1732 &#8211; Rome 1822), Offering gifts to Coroliano</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/tommaso-maria-conca-gaeta-1732-rome-1822-offering-gifts-to-coroliano/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:28:09 +0000</pubDate>
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					<description><![CDATA[This artwork was published in <em>La pittura neoclassica italiana, </em>by A. Cera, Longanesi, Milan 1987.

“Son of the painter Giovanni and Anna Laura Scarsella, Tommaso Maria Conca was born in Rome on 22nd December 1734 and was baptised at S. Lorenzo in Damaso on the 24th. A funeral eulogy preserved in the Archives of the Accademia di S. Luca (vol. LXXII, n. 116, also in S. Conca, 1981, pp. 391 - 392) contains the main points of his biography. Conca spent a part of his childhood in Turin where his father, invited by the king of Sardinia, lived from November 1738 to June 1748, after which he returned to Rome. At his father's school Conca learned the principles of drawing and painting ”. – Enciclopedia Treccani, Tommaso Conca]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>TOMMASO MARIA CONCA </strong>(Gaeta 1732 – Rome 1822)<br />
Title: <em>Offering gifts to Coroliano</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 73 x 136<br />
Period: Second half of the 18th century</p>
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		<title>Maria Giovanna Clementi, known as «la Clementina» (Turin 1690/1692-1761), Portrait of king Charles Emmanuel III of Savoy</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/maria-giovanna-clementi-known-as-la-clementina-turin-1690-1692-1761-portrait-of-king-charles-emmanuel-iii-of-savoy/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:18:32 +0000</pubDate>
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					<description><![CDATA[In the oval-shaped portrait enclosed within this monumental gilded and lacquered wooden chimney-piece, one recognises the half-busted effigy of King Carlo Emanuele III of Savoy (Turin, 1701-1773) and the painting style of the famous Piedmontese painter Maria Giovanna Battista Buzzana Clementi, known as «la Clementina». The Savoy monarch, who ascended the throne in 1730, is depicted in three quarters. His breastplate is adorned with the large collar and badge of the dynastic order of the Santissima Annunziata, meticulously described in the calligraphic interlacing of the motto “fert", and with the characteristic knots belonging to the subalpine family. The armour bears the monogram of the sovereign, which is engraved under the neckline and partly covered by a red cloak lined with ermine, proof of his royalty, reiterated by the crown placed upon his shoulders.

The complex set of symbolic references is not limited to the canvas, but extends to the frame, the work of an excellent Piedmontese carver of the first half of the 18th century; the coherence of the two objects shows that they have been conceived since their origin as a unitary structure.

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/03/Catalogo-Pittura-italiana-dal-Seicento-al-Settecento-2015_.pdf">HERE</a> for a full description in the <em>Catalogue of Italian painting from the 17th to 18th century 2015</em>, pg. 58-59]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>MARIA GIOVANNA BATTISTA BUZZANA CLEMENTI </strong>known as<strong> “LA CLEMENTINA”</strong> (Turin 1690/1692-1761)<br />
Title: <em>Portrait of king Charles Emmanuel III of Savoy</em><em><br />
</em>Medium: Oil on canvas<br />
Portrait Dimensions: 74 x 53 cm<br />
Details of chimney piece: Coeval frame in carved wood, lacquered and gilded 194 x 134 cm<br />
Period: 1700</p>
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		<title>Luigi Garzi (Pistoia 1638 – Rome 1721), Alpheus and Arethusa</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/luigi-garzi-pistoia-1638-rome-1721-alpheus-and-arethusa/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:16:13 +0000</pubDate>
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					<description><![CDATA[This large canvas by Luigi Garzi depicting the lesser-known mythological story of Alpheus and Arethusa, from Ovid's Metamorphoses, recently became the object of an in-depth scientific and iconographic study by Stefania Macioce and it appears on the cover-page of the first monograph ever dedicated to the artist, edited by Francesco Grisolia and Guendalina Serafinelli for “i tipi” of Officina Libraria.

Moving to Rome at a very young age, Garzi first trained at the workshop of the landscape-artist Salomone Boccali, before continuing his apprenticeship under the guidance of Andrea Sacchi.

The artist's first documented works date back to the 1770s and include public commissions (San Marcello al Corso, Santa Caterina in Magnanapoli, Santa Croce in Gerusalemme, Santi Ambrogio and Carlo al Corso) and private (Palazzo Borghese); these prestigious commissions helped to extend his fame beyond the city’s borders and to later work for lengthy periods of time in the 1790s in Naples (Santa Caterina a Formiello, Galleria del Principe di Cellamare, Palazzo Reale and San Carlo all ' Arena).

In his long and prolific career he enjoyed a wealth of official recognition: in 1670 he became an academic at San Luca, later to become Principal of that same Academy in 1682. In 1680, and in 1702, he was also regent at the Pontifical Academy of Fine Arts and Letters of the Virtuosi al Pantheon, the first association of artists in Rome, created in 1543 with the authorisation of Pope Paul III.

The <em>Alpheus and Arethusa</em> at the Giamblanco Gallery dates back to the first decade of the 18th century, when Garzi would have returned to Rome after his stay in Campania, and it constitutes one of his top pictorial productions, combining his Emilian and Marattesc classicist orientation with the influences of the work of Nicolas Poussin. The elegance of the chiastic arrangement of the figures is associated with an extremely refined chromatic palette, skilfully counterpointing between the red and blue that distinguish and differentiate the male and female components.

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 C<em>atalogue Twenty-five years of activity 2017/2018</em>, pg. 54-55.

Bibliography: S. Macioce, <em>Il mito di Alfeo e Aretusa. Appunti d’iconografia</em>, in <em>Luigi Garzi 1638-1721. Pittore Romeno</em>, edited by F. Grisolia and G. Serafinelli, Milan 2018, pp. 145-159.

&#160;]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>LUIGI GARZI</strong> (Pistoia 1638 – Rome 1721)<br />
Title: <em>Alpheus and Arethusa</em><br />
Medium: Oil on canvas<br />
Dimensions: 121 x 171 cm<br />
Period: 1705-10 ca</p>
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		<title>Giuseppe Zais (Forno di Canale d’Agordo 1709 &#8211; Treviso 1784), Two landscapes with figures</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/giuseppe-zais-forno-di-canale-dagordo-1709-treviso-1784-two-landscapes-with-figures/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:10:57 +0000</pubDate>
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					<description><![CDATA[These two beautiful unpublished gouaches depict placid countryside landscapes furrowed with calm and clear streams that reflect the blue of the sky. Leafy trees, a few houses with thatched roofs, ancient towers nearby and afar, figures of fishermen, washerwomen and wayfarers, some farm animals and in the distance blue mountains all evoke peaceful idyllic rather than fatiguing places, and where time slows down (so different from what we experience in our days). The human figures are conversing and contemplating nature. They are landscapes that most certainly derive from real life, though rendered and refined to an Arcadian ideal. [...]

The style and top quality of these works allow us to identify the Artist as being the Agordian painter Giuseppe Zais, possibly in the period of his full maturity. In fact, probative comparisons can be made with a number of his other works: the closest one being the beautiful canvas depicting a “Landscape with female figures” that is kept at Basildon Park (Reading), National Trust. In these two scenes, we can equally see not only the influence of Marco Ricci, who is from Belluno like Zais and who was also a great master in the medium of gouache and frequented by him in Venice, but especially also the influence of Francesco Zuccarelli's delicate Arcadia.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>Giuseppe Zais </strong>(Forno di Canale d’Agordo 1709-Treviso 1784)<br />
Title: <em>Two landscapes with figures</em><br />
Medium: Gouache on paper<br />
Dimensions: cm 43 x 51 each<br />
Period: Second half of the 18th century</p>
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		<title>Gian Antonio Pellegrini (Venice 1675 &#8211; 1741), Scipio’s magnanimity</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/gian-antonio-pellegrini-venice-1675-1741-scipios-magnanimity/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:04:18 +0000</pubDate>
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					<description><![CDATA[The painting depicts an episode in the life of Scipio The African, who is mentioned for the first time in Livio (26.50), mentioned again in Polybius (10, 17, 19) and rhymed in Petrarch (Africa, 4, 375-388). The Roman leader Scipio, having conquered the Spanish city of New Carthage, is being offered a young woman as part of his victor's booty. But upon learning that the girl has been betrothed, Scipio summons Allucio, the man she was supposed to marry, and returns her to him, along with the sum of ransom that the girl’s relatives had managed to scrape together and offered to him, in the hopes of freeing her. This was a rather popular theme in Venetian painting between the 17th and 18th century.

The most evident compositional and thematic prototype, which inspired many others, is to be found in the paintings of Sebastiano Ricci at Palazzo Marucelli-Fenzi in Florence and at the National Gallery of Parma ...

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-pittura-italiana-dal-Seicento-al-Settecento-2014.pdf">HERE</a> for a full description in the <em>Catalogue of Italian painting from the 17th to 18th century 2014</em>, pg. 50-51]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>GIAN ANTONIO PELLEGRINI</strong> (Venice 1675 – 1741)<br />
Title: <em>Scipio’s magnanimity</em><br />
Medium: Oil on canvas<br />
Dimensions: 105 x 130 cm<br />
Period: 1700</p>
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		<title>Francesco Antonio Simonini (Parma 1686-1766), Military scene with the signing of a treaty</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/francesco-antonio-simonini-parma-1686-1766-military-scene-with-the-signing-of-a-treaty/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 16:00:33 +0000</pubDate>
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					<description><![CDATA[This military scene, centred on the signing of a treaty either suspending hostilities or surrendering a besieged city, with artillery positioned in designated openings in buttresses, near mounds of artificial soil, watched over by soldiers and on which flags are hoisted, constitutes an interesting new addition to the already conspicuous Simonini Catalogue. In fact, it combines special features of a painter of battles with those of a landscape artist, the latter of which is what Simonini continued to cultivate in his later years, often as a background to military scenes; be they real battles, or movements of troops, military camp-sights or episodes related to military campaigns …

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. 88-89.]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>FRANCESCO ANTONIO SIMONINI</strong> (Parma 1686 – 1766)<br />
Title: <em>Military scene with the signing of a treaty</em><br />
Medium: Oil on canvas<br />
Dimensions: 151 x 224 cm<br />
Period: 1745</p>
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		<title>Antonio Maria Marini (Venice 1668 &#8211; 1725), Battle/Clash of the cavalry</title>
		<link>https://www.galleriagiamblanco.com/en/prodotto/antonio-maria-marini-venice-1668-1725-battle-clash-of-the-cavalry/</link>
		
		<dc:creator><![CDATA[Galleria_Giamblanco]]></dc:creator>
		<pubDate>Thu, 27 May 2021 15:41:07 +0000</pubDate>
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					<description><![CDATA["The “Clash of the cavalry” depicted in this large canvas is the work of the Venetian painter Antonio Maria Marini. The scene features soldiers in fierce combat extending from the foreground, across the landscape, to the end of the horizon. The entire painting transmits a sense of urgency, through the impetuous dynamism of the fighters and the multitude of chromatic alterations in its background, giving a virtuosic outline to the painting, with effective abbreviations.

The talented artist of this masterpiece painting required a well-deserved…

Click <a href="https://www.galleriagiamblanco.com/wp-content/uploads/2021/02/Catalogo-pittura-italiana-dal-Seicento-al-Settecento-2014.pdf">HERE</a> for a full description in the C<em>atalogue of Italian painting from the 17th to 18th century 2015</em>, pg. 40-41

This painting appeared in the antiques market in 1986, being accurately attributed to Marini. It was promptly included in the monographs that were dedicated to the painter, by Laura Muti and Daniele De Sarno Prignano (1991) and by Maria Silvia Proni (1992).]]></description>
										<content:encoded><![CDATA[<p>Artist: <strong>ANTONIO MARIA MARINI</strong> (Venice 1668 – 1725)<br />
Title: <em>Battle/Clash of the cavalry</em><br />
Medium: Oil on canvas<br />
Dimensions: cm 180 x 230<br />
Period: 1700-1710</p>
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