Objekte ähnlich wie Period Italian Giovanni Francesco Romanelli Follower Painting
Möchten Sie mehr Bilder oder Videos?
Zusätzliche Bilder oder Videos von dem*der Anbieter*in anfordern
1 von 10
Period Italian Giovanni Francesco Romanelli Follower Painting1650 ca.
1650 ca.
1.586 €Einschließlich MwSt.
Angaben zum Objekt
This not signed very interesting oil painting on canvas dates back to the mid-17th century.
It depicts the Virgin Mary kneeling and reading the Book of Hours.
It is the work of an artist from central Italy, probably from the circle of Giovanni Francesco Romanelli, known as Il Viterbese or Il Raffaellino.
The painting is accompanied by a beautiful contemporary Salvator Rosa-model frame in pure gold-plated wood.
Giovanni Francesco Romanelli (Viterbo, 1610– Viterbo, 9 November 1662) was a major Italian painter of the Baroque period, celebrated for his use of bright, vivid colors and also for his clarity of detail. Many of his works are on display in the Louvre.
Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts.
Our company has been present on this platform for many years, with numerous sales made and just as many excellent reviews received that you can under our Furniture account.
Born in Viterbo to Laura de Angelis and Bartolomeo Romanelli, he went to Rome at age 14 to study to become an artist, and within a few years became part of the household of Cardinal Francesco Barberini. He was a pupil in the painting studio of Pietro da Cortona, the leading painter of his day, but the two eventually quarreled and so Romanelli left. Romanelli is first recorded in 1631, assisting Cortona on the decoration of the Palazzo Barberini, Rome, which he continued to do during most of that decade, notably on the great ceiling fresco of Divine Providence (1632–9). He also contributed to Cortona’s Quarant’Ore decorations for San Lorenzo in Damaso, Rome, for 1632–3. In his easel pictures of the 1630s, such as the Rape of Helen (Rome, Capitoline Museums), Romanelli is close to the most classical of Cortona’s works.
Romanelli's first known independent commission was for the Barberini pope Urban VIII: a fresco for an overdoor in St. Peter’s, St. Peter Healing the Sick (1636–7; Rome, Vatican, Museo del tesoro di San Pietro). In 1637 Romanelli began a series of cartoons of decorative putti for tapestries in the Apostolic Palace, apparently intended as a direct imitation of those designed by the Raphael school for Leo X in 1520. Also in 1637 payments began for his fresco cycle (possibly begun earlier) of 1520. Also in 1637 payments began for his fresco cycle (possibly begun earlier) of scenes from the Life of Matilda of Tuscany, in the Sala della Contessa Matilda in the Vatican (1637–42), a work that reveals a certain weakness in large-scale composition. More successful were his ceiling fresco of Feed my Sheep and altarpiece of the Nativity in the Vatican Gallery of Maps (both 1638).
This period of Vatican commissions closed with his first major altarpiece, the Presentation in the Temple (1638–42; Rome, Santa Maria degli Angeli e dei Martiri), painted for the Cappella della Colonna in St. Peter’s, which shows him retreating from Cortona’s Venetian colourism to the safety of Bolognese disegno; like most of the altarpieces destined for St. Peter’s at this time, it was replaced by a mosaic copy. This extensive Barberini patronage evidently made Romanelli quite a distinguished figure in Rome.
From 1637 he featured regularly in the records of the prestigious Accademia di San Luca.
In 1639 he was elected director of the Accademia.
He contributed a ceiling fresco of Arion to the series of decorations by notable artists in the Palazzo Costaguti, Rome, and frescoed mythological scenes in friezes in the Palazzo Altemps.
He was also employed by the most distinguished artistic figure in the city, Bernini, to execute some of the latter’s designs for chapel decorations, notably those (1642–6) for the Cappella Raimondi in San Pietro in Montorio, Rome, in which he painted small scenes on the vault.
In 1648 Romanelli was back in Rome.
It was probably at this period that he painted his finest altarpiece, the Virgin of the Rosary (Rome, Santi Domenico e Sisto), in which the grace and charm of the figures are superbly controlled by his compositional facility.
A different kind of facility, however, informs his fresco decorations in the Palazzo Lante, Rome (1653); the ceiling painting of Mars, Venus and Mercury and six lunettes featuring episodes of Roman history have a noticeably mechanical air.
In 1655, Romanelli was recalled to Paris.
He was commissioned to decorate the summer apartment of the Queen in the Louvre Palace, four rooms – the Salles des Saisons, de la Paix, de Sévère and des Antonins – for which he produced elaborate arrangements of panels as ceiling decoration (1655–7).
The opportunity to combine a wider range of subjects than usual, not only mythologies and histories but also allegorical and religious scenes, did not stimulate him artistically, and the results give a somewhat limp, faded impression.
The gold and white stuccos, however, executed by Michel Anguier after Romanelli’s designs, are of great elegance.
In 1658 Romanelli returned to Viterbo, where he provided a fine St. Lawrence for the high altar of the cathedral.
Soon afterwards he was back in Rome. For the convent of Sant'Agostino he painted the Charity of St. Thomas of Villanueva; its dignified and graceful composition was imitated by Melchiorre Cafà in his marble group of the same subject in the adjacent church ( 1661; Rome, S Agostino), thus emphasizing Romanelli’s position as a precursor of the Late Baroque.
In 1660 Romanelli found himself back where he had started 30 years earlier, painting sumptuous, decorative frescoes for the Barberini family (Rome, Palazzo Barberini). He died in Viterbo on 9 November 1662. Romanelli’s pupils included his son Urbano Romanelli and the painter from Visone, Giovanni Monevi.
Under existing legislation, any artwork created over 70 years ago by an artist who has died can requires a license for export regardless of the work’s market price. The shipping may require additional handling days to require the license according to the destination of the artwork.
Dimensions are frame included
- Entstehungsjahr:1650 ca.
- Maße:Höhe: 48 cm (18,9 in)Breite: 44 cm (17,33 in)Tiefe: 10 cm (3,94 in)
- Medium:
- Bewegung und Stil:
- Kreis von:Giovanni Francesco Romanelli (1610 - 1662)
- Zeitalter:Mittleres 17. Jahrhundert
- Zustand:There are many defects, as shown in the photos, but not in the most important parts of the painting.
- Galeriestandort:Roma, IT
- Referenznummer:1stDibs: LU2883217435142
Anbieterinformationen
Noch keine Bewertungen
Geprüfte*r Anbieter*in
Jede*r Anbieter*in erfüllt strenge Standards bezüglich Echtheit und Zuverlässigkeit
Gründungsjahr 1990
1stDibs-Anbieter*in seit 2025
8 Verkäufe auf 1stDibs
Typische Antwortzeit: 1 Stunde
- VersandAngebot wird abgerufen …Versand von: Roma, Italien
- Rückgabebedingungen
Einige Inhalte dieser Seite wurden automatisch übersetzt. Daher kann 1stDibs nicht die Richtigkeit der Übersetzungen garantieren. Englisch ist die Standardsprache dieser Website.
Mehr von diesem*dieser Anbieter*in
Alle anzeigenGiovanni Battista Salvi zugeschriebenes italienisches religiöses Gemälde aus dem 17.
Von Giovanni Battista Salvi da Sassoferrato
Giovanni Battista Salvi zugeschriebenes italienisches religiöses Gemälde aus dem 17.
Jungfrau Maria
Zeitraum: zweite Hälfte des 17. Jahrhunderts
Technik: Öl auf Kupfer
Ein wundersc...
Kategorie
Spätes 17. Jahrhundert, Barock, Figurative Gemälde
Materialien
Kupfer
Italienisches religiöses Gemälde Onorio Marinari aus dem 17. Jahrhundert
Von Onorio Marinari
Ein sehr wichtiges Gemälde des großen Künstlers der Florentiner Schule, Onorio Marinari.
Dr. Silvia Benassai hat die Urheberschaft von Marinari für die Heilige Margarete von Antiochi...
Kategorie
Mitte 17. Jahrhundert, Barock, Porträts
Materialien
Leinwand, Öl
17th Century Italian Religious Painting Credited to Luciano Borzone
This important oil painting on canvas, although it is not signed as is almost always the case with this artist's paintings, is attributed to the great Genoese painter Luciano Borzone...
Kategorie
Mitte 17. Jahrhundert, Barock, Figurative Gemälde
Materialien
Leinwand, Öl
Italienisches Porträt aus dem 18. Jahrhundert, das Maria Giovanna Battista Clementi zugeschrieben wird
Italienisches Porträt aus dem 18. Jahrhundert, das Maria Giovanna Battista Clementi zugeschrieben wird
Das Gemälde stellt wahrscheinlich einen jungen Adligen am Hof von Savoyen dar u...
Kategorie
Mitte des 18. Jahrhunderts, Alte Meister, Porträts
Materialien
Öl, Leinwand
17th Century Italian Religious Painting on Glass
Von Leandro da Ponte known as Leandro Bassano (Bassano, 1557 - Venice, 1622), attributed to
Italienische religiöse Malerei auf Glas aus dem 17.
Schönes und bedeutendes Ölgemälde auf Glas nach einem Kupferstich, nicht signiert, unten in der Mitte datiert 1655, Anhänger von ...
Kategorie
Mitte 17. Jahrhundert, Barock, Figurative Gemälde
Materialien
Glas, Öl
Expertisiertes italienisches Gemälde mit Goldgrund aus dem 14.
Museumstaugliche Goldgrundmalerei aus der Zeit der Renaissance von Smeraldo di Giovanni.
Es stellt die "Jungfrau der Rosen" dar, die auf einem Thron sitzt und das Jesuskind hält.
Sie...
Kategorie
15. Jahrhundert und früher, Renaissance, Figurative Gemälde
Materialien
Tempera, Holzverkleidung
Das könnte Ihnen auch gefallen
Ölgemälde auf Leinwand Italienische Schule des frühen 19. Jahrhunderts
"Die Madonna der Gerechtigkeit" Öl auf Leinwand Werk der frühen italienischen Schule des 19.
die Geschichte:
Zweifellos für den Herzogspalast von Genua gemalt Genua, Herzogspalast, ...
Kategorie
1880er, Barock, Figurative Gemälde
Materialien
Leinwand, Öl
23.600 € Verkaufspreis
20 % Rabatt
Gemälde Junger Mann zündet eine Pfeife an 18. Jahrhundert
Öl auf Leinwand.
Das Gemälde zeigt das halbhohe Porträt eines jungen Mannes in Deshabillé, der seine Pfeife anzündet, indem er mit einem Stock Feuer aus der Kerze schöpft, die vor i...
Kategorie
18th Century, Sonstige Kunststile, Figurative Gemälde
Materialien
Oil
Gemälde David mit dem Kopf des Goliaths 17. Jahrhundert
Öl auf Leinwand. Mittelitalienische Schule des 17. Jahrhunderts.
Das Gemälde erinnert in seinem malerischen Stil an die Produktion von Angelo Caroselli (1585-1652), einem römischen B...
Kategorie
17th Century, Sonstige Kunststile, Figurative Gemälde
Materialien
Oil
Gemälde Unsere Liebe Frau vom Heiligen Hieronymus, 17.-18. Jahrhundert
Öl auf Leinwand. 17. bis 18. Jahrhundert Emilianische Schule.
Es handelt sich um eine frühe Kopie des berühmten Tafelbildes von Correggio mit dem Titel La Madonna di San Girolamo ode...
Kategorie
18th Century and Earlier, Sonstige Kunststile, Figurative Gemälde
Materialien
Oil
17. Jahrhundert Öl auf Leinwand Italienisch Antike Porträtmalerei, 1670
Antikes italienisches Gemälde aus dem 17. Jahrhundert. Kunstwerk in Öl auf Leinwand, das das Porträt eines jungen Gelehrten/Künstlers mit hervorragenden Malfähigkeiten darstellt. Das...
Kategorie
Antik, 1670er, Italienisch, Gemälde
Materialien
Leinwand
Antiker italienischer Maler – Figurenmalerei des 18. Jahrhunderts
Italienischer Maler (18. Jahrhundert) - Chrono.
90,5 x 106 cm.
Antikes Ölgemälde auf Leinwand, ohne Rahmen (nicht signiert).
Zustandsbericht: Gefütterte Leinwand. Guter Erhaltungs...
Kategorie
Frühes 18. Jahrhundert, Alte Meister, Figurative Gemälde
Materialien
Leinwand, Öl
4.000 € Verkaufspreis
20 % Rabatt