Alessandro Magnasco, known as"il Lissandrino" (Genoa, February 4, 1667 - March 12, 1749) "Capriccios with architectural ruins and figures" Oil on canvas Early 18th century period Contemporary walnut frames Medici coats of arms branded. Canvas dimensions 38 x 27, frame dimensions 48 x 37 Excellent condition All photographic details on link: https://www.antichitaischia.it/it/prodotto/alessandro-magnasco-detto---il-lissandrino- An extraordinary collection of 10 capriccios 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 ruins 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 pictorial ability of the highest level. The views present a scenographic richness that amazes the viewer and leads them to search for continuous new details to identify and decipher in the countless scenes animated by typical characters from the repertoire of the Great Genoese Master. Standing out, among the various situations, are the silhouettes of painters intent on painting in front of the easel, but also the inevitable soldiers, players sitting at tables, musicians, and acrobats. The artistic universe, absolutely visionary and surreal, of Alessandro Magnasco is excellently represented here. The charm of this very rare collection, already of considerable attraction in itself, is increased by the state of preservation of the works, which are presented in first canvas, still fixed on the original fixed frames, without the slightest retouching to the paintings which have remained intact and complete with the contemporary frames. To this must be added a very interesting and particular note: on the back of the frames are branded the Medici coats of arms, which certify the dating of the works in the first 10 years of the 18th century, a period spent by Magnasco at the Medici Court, under the protective wing of Grand Prince Ferdinando. It is very suggestive to consider that the 10 canvases may be the 10 preparatory sketches, executed with great effectiveness, for the creation of large-scale works commissioned by Ferdinando de' Medici himself. In any case, we prefer to keep the whole collection together, avoiding dispersing the separate paintings, to safeguard the artistic completeness and history 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 influenced above all by contemporary Venetian painting and the Baroque style of his master. His paintings, made of pasty and flaking material, unleash violent chromatic and light 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 distinguishes himself in painting of a popular genre. The brushstroke, always full of chiaroscuro effects and flashes of light in the dark, tends to depict gloomy 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 soon abandoned to dedicate 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 convent settings. In the realization of works with ruins and architecture, he often uses the collaboration of some specialists, such as Clemente Spera and Antonio Francesco Peruzzini. With the latter, he collaborates intensely, leaving the colleague the depiction of the extraordinary tree-lined 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 in the service of Grand Prince Ferdinando de' Medici, the firstborn 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 "caricatured and playful" 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, returning to Milan, he was called to execute the decoration for the triumphal entry 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 18th-century "genre" paintings, with scenes that express strong drama combined with a rococo taste, typically scenographic and theatrical. A certificate of authenticity is issued in accordance with the law (FIMA affiliate) Tracked shipping (DHL TRACKING) and fully insured with antishock packaging in custom-made wooden crate. Delivery within 3 working days of receiving the bank transfer (DHL EXPRESS) Price negotiable - Personalized payment