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/antonio-balestra-verona-1666-1740-moses-saved-by-the-waters-of-the-nile/ Thu, 27 May 2021 15:38:46 +0000 https://www.galleriagiamblanco.com/?post_type=product&p=3382 Moses saved, Balestra’s solid formal approach emerges, which lingers in the rendering of the expressive poses of the protagonists and in the balance of the composition. The canvas is perhaps the preparatory study for a painting with a similar subject already sold at Christie's auction in 1990 (Oil on canvas, 159 × 206 cm): between the two works there are numerous variations, such as the elimination of the small Moor servant on the right, to allow a better rotation of all the female figures around the luminous image of Moses. Further versions of this subject are known, albeit with a somewhat different layout, such as the canvas painted for the ceiling of the Marmorsaal of the castle of Pommersfelden (about 1714-1716) and the one now preserved at the Tadini Academy of Lovere (inv. 282) Click HERE for a full description in the Catalogue Four Centuries of Painting 2016, pg. 36-37]]> Artist: ANTONIO BALESTRA (Verona 1666-1740)
Title: Moses saved by the waters of the Nile
Medium: Oil on canvas
Dimensions: 63 x 98,5 cm
Period: First half of the 18th century

]]> 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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