Venetian School Of The 18th Century, Mythological Scene With Bacchus And Juno

Venetian School of the 18th century
Mythological Scene with Bacchus and Juno
Oil on canvas, cm 33,3 20 - With frame, cm 40 x 27

In this mythological canvas the god Bacchus and the goddess Juno are depicted. Bacchus is depicted here as a virile and muscular young man whose head is adorned with the crown of vine shoots and ivy, classic emblems of the god of wine. Juno sensually lying on a cumulus of white clouds is accompanied by the peacock (symbol of and its traditional attribute) and a small winged Pitto. Juno is the wife of Jupiter is often considered a jealous goddess, obstinate and quarrelsome, often infuriated with her husband for the continuous betrayals and inevitably persecutes the children and lovers of God. This is what happened to Bacchus' mother, Semele, deceived by Juno, asks Jupiter to show all his power and then be incinerated.
The work, for stylistic and compostive references, can be attributed to the hand of an artist belonging to the Venetian school of the eighteenth century. In particular, for the stylistic and coloristic approach, we find the hand of a painter aware of the works of Gianbattista Tiepolo ( Venice, 5 March 1696 - Madrid, 27 March 1770) and the painter of Veronese origin Felice Torelli (Verona, 9 September 1667 - Bologna, 11 June 1748). Gianbattista Tiepolo became one of the most sought after and famous artists of the eighteenth century Italian. Born in Venice, he trained in the workshop of Gregorio Lazzarini and entered the Fraglia of Venetian painters in 1707. Numerous are the works performed in his long career, executing both paintings and frescoes of historical and mythological subject and also religious depictions. Famous are its ceilings, theatrical machines made of pure color and lights made thanks to the help of his colleague and friend Girolamo Mengozzi said the Column that deals with the quadrature (frescoes of the Patriarchal Palace of Udine, Palazzo Clerici in Milan).
In the painting examined the general intonation recalls the works of Tiepolo. The two figures set on a diagonal are made with touches of color spread out quickly, almost spotty while the light that hits the figures increases the theatricality of the scene. Also the chromatic range, set on the cold and neutral shades of blue and warmed by touches of flaming reds recall the art of the great master, admired and emulated by many artists of that generation and beyond.

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