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	<title>Mythological</title>
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	<link>https://www.galleriagiamblanco.com</link>
	<description>Dipinti antichi a Torino dal 1993</description>
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	<title>Mythological</title>
	<link>https://www.galleriagiamblanco.com</link>
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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>
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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>
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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>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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