Ciriaco Parmigiani (1641-1704), Pair Of Clashes Between Cavalry

Ciriaco Parmigiani (Piacenza, 1641-1704)

Pair of clashes between cavalry

(2) Oil on canvas, cm 93 x 123

with frame cm 101 x 132

The widespread conception of war-themed paintings in pendant is placed in the search for a greater visual spectacularity; the iteration of military images and historical or fantasy clashes in fact reached, in the combined imaginative offer, a promise of maximum evocation. 

In the present couple it is possible to observe horses struggling, crowded, ruffled the tails and pushing on a bridge where the battle seems to reach its climax. The superbly fringed brushstrokes feature steeds galloping or poured on the ground like their riders; the figures shoot like arrows from one corner to the other of the canvases, chased by leaden fumes rolling at their heels. A kaleidoscope of details and sudden changes of color demonstrates the tireless passion of the artist in offering with heartfelt care two weighted war scenes. 

The compositional arrangement, which restricts a handful of figures to a point and admirably sweeps towards the corners, to return crystalline streams of water that follow their undisturbed path, as well as the typical figurative, and the reproducing of formal modules and certain expressions, allows us to attribute the present with absolute certainty to Ciriaco Parmigiani (1641-1704).

A specimen of the Parmesan school of the battle genre, Parmigiani is documented in the archives only as "Ciriaco"; it shone within the artistic belt of Parma and Piacenza together with Francesco Monti, also known as the Brescianino from his native city (1646-1703)In a Clash of Cavalry now kept in the depots of the Museums of the Castello Sforzesco in Milan, it seems to adopt the methods of Parmigiani.
The artist worked closely with Corrado Bergamaschi and Antonio Brambilla, but distinguished himself for the original tireless filling of his paintings, in which expressionism typifying the faces of riders and the pride of horses always accords to a specific environmental inclusion. In the present pair, this can be observed in the mossy rocks that semi-conceal from view the fallen of the battle, as well as in the pasty mountains in the distance and in the spectral tree that enriches one of the two paintings. 

You can compare the pair with numerous Battles of chivalry carried out by Parmigiani and today in private collections of Genoa and Bergamo, in which the disposition of the soldiers and the way of painting knights and natural context are almost identical. 

The object is in good condition

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