141
141
Attributed to Antonio Maria Maragliano (1664-1739)
Italian, Genoa, early 18th century
PAIR OF TORCHÈRES WITH WOMEN SUPPORTED BY CHERUBS
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141
Attributed to Antonio Maria Maragliano (1664-1739)
Italian, Genoa, early 18th century
PAIR OF TORCHÈRES WITH WOMEN SUPPORTED BY CHERUBS
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Attributed to Antonio Maria Maragliano (1664-1739)
Italian, Genoa, early 18th century
PAIR OF TORCHÈRES WITH WOMEN SUPPORTED BY CHERUBS
gilt and polychromed wood
Figure with green robe: 203cm., 79 7/8 in.
Figure with red robe: 204.5cm., 80 1/2 in.
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相關資料

The present torchères are decorated with two figures accompanied by two naked putti, all of whom balance precariously in motion while billowing drapery envelops them. This dynamic sense of movement combined with the remarkable animation of colour characterise the defining sculptures of Italian wood-carver, Antonio Maria Maragliano. Maragliano found fame and success in seventeenth century Genoa for his monumental groups, carved with intense theatricality and expression. He employed specialist polychrome painters to finish his models with an exultantly vibrant and dramatic effect. The fame of his technique and prolific output of his workshop reached as far as Spain, where Maragliano was commissioned to produce designs for the sterns of the King’s ship.

The present torchères compare well with Maragliano’s Madonna del Rosario, in the parish church of San Desiderio, Genoa, illustrated by Pagano (op. cit. p. 258, fig. 357). The drapery falls in thick, uneven folds while the postures of the figures are neither uniform nor balanced. The faces are carved in a delicate manner, with soft features, but with boldly striated hair and curls: their placid expressions contrast with their more animated movement. The composition is similar to Maragliano’s Annunciation, in the oratorio del Cristo Risorto, Savona: in this, the Angel Gabriel is similarly supported by gesturing putti, who balance on a cloud formation, as the equivalent of the rocky terrain in the present sculpture (see Pagano, op. cit. p. 268, fig. 375).

RELATED LITERATURE
F. Pagano (ed.), La Scultura a Genova e in Liguria. Dal seicento al primo novecento, Genoa, 1987, vol. ii, pp. 258, 265-270  

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