Ancora per Giuseppe Antonio Pianca, maestro d’Agnona

digital

Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2020 - 1
titolo	Ancora per Giuseppe Antonio Pianca, maestro d’Agnona About Giuseppe Antonio Pianca, Master of Agnona
autore	Virginia Comoletti
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	12-2020
doi	10.26350/666112_000057
issn	0004-3443 (stampa)

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Descrizione
The paper aims at bringing light to a previously unknown painting representing Saint Francis in Prayer, found in a private collection and ascribable to Giuseppe Antonio Pianca’s production for stylistic analogies. the substantial gallery dedicated by the artist to the representation of the Alter Christus stands out for the intense activity carried out during the central decades of the 18th century. Moreover, it is also an evidence for the retrospective stance that the unconventional and rebel artist, firmly tied to the previous century’s spirit, undertook with regards to the main characters of the Lombard seventeenth century, from tanzio to Morazzone and Cerano, revised on the base of Pier Francesco Guala and Alessandro Magnasco’s paintings. the painting examined here was probably originally conceived as part of a diptych together with a St. Joseph with the Child, from the Cavallini-Sgarbi collection. It presents the same foreshortened pose, similar physiognomic features and that dense brushstroke, typical of Giuseppe Antonio Pianca. keywords Giuseppe Antonio Pianca; Agnona; 18th century Lombard and Piedmontese school; baroque school in Lombardy; Saint Francis in prayer Biografia dell'autore virginia.comoletti@gmail.com

Descrizione

The paper aims at bringing light to a previously unknown painting representing Saint Francis in Prayer, found in a private collection and ascribable to Giuseppe Antonio Pianca’s production for stylistic analogies. the substantial gallery dedicated by the artist to the representation of the Alter Christus stands out for the intense activity carried out during the central decades of the 18th century. Moreover, it is also an evidence for the retrospective stance that the unconventional and rebel artist, firmly tied to the previous century’s spirit, undertook with regards to the main characters of the Lombard seventeenth century, from tanzio to Morazzone and Cerano, revised on the base of Pier Francesco Guala and Alessandro Magnasco’s paintings. the painting examined here was probably originally conceived as part of a diptych together with a St. Joseph with the Child, from the Cavallini-Sgarbi collection. It presents the same foreshortened pose, similar physiognomic features and that dense brushstroke, typical of Giuseppe Antonio Pianca.