Cupids In The Forge Of Vulcain Oil On Canvas Workshop By Francesco De Mura 18th Century School

The cupids in Vulcain's forge Five cupids are busy in Vulcain's forge. The first puts an arrow into the fire, three others hammer another arrow while the last sharpens a third. At his feet a quiver of arrows already prepared. The scene is linked to the adultery of Venus with Mars before her husband Vulcan learns of it. The angels are busy preparing the arrows which will pierce the defenseless hearts of beings in love. The scene is recounted in Book IV of Ovid's Metamorphoses. Rare mythological subject probably from the workshop of Francesco de Mura (1696-1782) Oil on canvas mounted on panel Italian school of the 18th century Old frame painted in the style of Italian frames 107x87cm frame included 86x67cm painting only Francesco de Mura Italian painter ( Naples 1696 – id. 1782). Entering Solimena's workshop at a very young age, he always remained faithful to the master's work. The teaching offered to him by the ceiling of S. Domenico Maggiore, on which Solimena worked until 1709, is fundamental in determining his taste for great decoration based on architectural scenographic "machines". With the ceiling of the SS church. Severino and Sossio (Vision of Saint Benedict, 1742), which presents remarkable chromatic solutions. Mura, by using the solar color of Solimena in lightened tones, gives the best of its production. He then displayed his gifts as a decorator and fresco artist in the frescoes of the Palazzo Reale in Naples, in those of S. Giuseppe dei Ruffi and in the Montecassino cycle; but it was undoubtedly during his stay in Turin (1741-42) that he asserted himself most happily. The Scenes from the Life of Theseus, painted at the Palazzo Reale, highlight the harmonious meeting of Solimena's elegant composition and the luminosity of Giordano's latest works. The ceiling of the Nunziatella, executed in Naples in 1751, reveals a tendency towards Roman academicism, coming from the style of Maratta, as do works immediately later, such as the Allegories of the Palazzo Chierici in Turin or the Allegory of the Arts from the Louvre, monumental, with light and delicate colors. In the last period of his activity, this influence will lead him to forms of clearly classicizing orientation.