Alessandro Magnasco, known as "Il Lissandrino" (Genoa, February 4, 1667 - March 12, 1749) "Whims with architectural ruins and figures" Oil on canvas Early 18th century Walnut frames with contemporary Medici coats of arms branded. Canvas dimensions 38 x 27 cm, frame dimensions 48 x 37 cm Excellent condition All photographic details on link: https://www.antichitaischia.it/it/prodotto/alessandro-magnasco-detto---il-lissandrino- An extraordinary collection of 10 whims depicting architectural ruins animated by an infinite and varied array of characters. The ten canvases, while presenting a single common thread with a practically similar descriptive continuity, differ completely both in the composition of the ruined architectures and in the incredible variety of figures that animate the scenes. In this series of paintings, the author can demonstrate his unparalleled creative genius, supported by a first-rate pictorial ability. The views present a scenographic richness that astonishes the viewer and leads them to seek out continuous new details to identify and decipher in the countless scenes animated by typical characters of the Great Genoese Master's repertoire. Prominent among the various situations are the figures of painters intent on painting in front of the easel, but also the inevitable soldiers, players sitting at tables, musicians and acrobats. Alessandro Magnasco's absolutely visionary and surreal artistic universe is excellently represented here. The charm of this extremely rare collection, which is already of considerable attraction in itself, is enhanced by the state of preservation of the works, which are presented in original canvas, still fixed on the original fixed frames, without the slightest retouching to the paintings which have remained intact and complete with contemporary frames. To this must be added a very interesting and particular note: on the back of the frames the Medici coats of arms are fire-branded, which certify the dating of the works in the first 10 years of the '700s, a period spent by Magnasco at the Medici Court, under the protective wing of Grand Prince Ferdinando. The hypothesis that the 10 canvases may be the 10 preparatory sketches, executed with great effectiveness, for the realization of large-scale works commissioned directly by Ferdinando de' Medici is very suggestive. In any case, we prefer to keep the entire collection together, avoiding dispersing the separate paintings, to safeguard the artistic completeness and historicity of the collection, to be considered as a single work. Author's Biography Alessandro Magnasco was born in Genoa on February 4, 1667, son of Stefano Magnasco and Livia Caterina Musso. Following the death of his father, also a painter and pupil of Valerio Castello, the very young Alessandro moved to Milan in 1682, to the workshop of Filippo Abbiati. Here he was mainly influenced by contemporary Venetian painting and the Baroque style of his master. His paintings, made of pasty and flaky material, release violent chromatic and luminous contrasts and will have a strong influence also in the painting of his contemporaries, in particular the Venetian Marco Ricci. Considered one of the most original artists of the Italian eighteenth century, he stands out in the painting of popular genre. The brushstroke, always full of chiaroscuro effects and bursts of light in the darkness, tends to depict dark environments with elongated and distorted figures, anticipating the expressionist painting of the following centuries. - Magnasco in Milan - His first works were portraits executed on commission, a genre abandoned soon to devote himself to landscapes with scenes animated by lanky figures of friars, gypsies, soldiers, woodcutters and acrobats, inserted in large and gloomy scenarios. His canvases are set mainly in a context that describes stormy landscapes, dark woods, or disturbing conventual sets. In the realization of works with ruins and architectures, he often uses the collaboration of some specialists, such as Clemente Spera and Antonio Francesco Peruzzini. With the latter he collaborates intensely, leaving to his colleague the representation of the extraordinary tree compositions with the very high fronds that stand out in backlight on the bright blue skies. - At the court of the Medici - From 1703 to 1710 Magnasco settled in Florence at the service of Grand Prince Ferdinando de' Medici, firstborn son of Cosimo III and passionate patron and collector. In Florence, Magnasco came across a series of painters and engravers who between the '600s and '700s had dedicated themselves to the development of the so-called genre of "caricata e giocosa" painting, including Stefano della Bella, Salvator Rosa, Giuseppe Maria Crespi and Giovanni Domenico Ferretti, all frequenters of the court of the last Medici grand dukes. In 1711, after returning to Milan, he was called to execute the decoration for the triumphal entrance of Emperor Charles VI into the City. Often his painting is compared to that of restless spirits such as the visionary Monsù Desiderio, or to the great masterpieces of El Greco, from which, however, Magnasco distinguished himself for his personal vision of light, even in the small eighteenth-century "genre" paintings, with scenes that express strong drama combined with a rococo taste, typically scenographic and theatrical. A certificate of authenticity is issued according to law (FIMA affiliate) Tracked shipping (DHL TRACKING) and fully insured with anti-shock packaging in custom-made wooden crate. Delivery within 3 working days from receipt of payment (DHL EXPRESS) Negotiable price - Personalized payment