Portrait Of A Noble Genoese Noblewoman, Giovanni Maria Delle Piane (genoa 1670 - 1745)

The beautiful portrait proposed, which represents a Genoese woman of high social origin and dressed in a sumptuous and elegant manner, illustrates the typical stylistic characteristics of the great Genoese portrait painter Giovanni Maria Delle Piane, called the Mulinaretto.

Giovanni Maria delle Piane dit Mulinaretto (Genoa 1670 - Monticelli d´Ongina 1745), attributed
Portrait of a noblewoman
Beginning of the 18th century
Oil on canvas, 79 x 65 cm,
In a beautiful carved and gilded wooden frame cm. 106 x 89

Complete details of the work - LINK - 

The noble lady displays a stern and proud expression, a smile which has just been mentioned but full of determination; the well-erected and authoritative pose is softened by the habit of the red ribbon woven in the hair, reminiscent of the brocade of clothes, according to an interpretive taste typical of Delle Piane.

In the painting we appreciate the meticulous detail of the lace of the sleeves and fabrics on the neckline, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that envelops the figure and that emerges from the the dark background. Finally, the pleasant conduction which characterizes the refined line is appreciated in the capacity to make the light glide on the clothes and the complexion of the woman.

The artist, pupil of Giovanni Battista Gaulli in Rome and returned to his native country in 1684, became the most contested portrait painter, active for the Bourbons and in great demand by the noble Genoese patronage, in particular female, who, enthusiastic about the sensitivity derived from the examples of Rigaud and Nicolas de Largillierre, elected the artist director of the city's dynastic iconographies.

In fact, French influences are both technically and imaginative, determined by the dense network of political and economic relations that Genoa maintains with France and the Court of Louis XIV; for this reason, a new sensibility arrives in Genoa and, after the influence of Van Dyck, the knowledge of the French portrait painters makes its way to which the painter adheres with a pictorial language simple but elegant in the rendering.

The painting is in an excellent state of conservation, enriched with a precious period frame in carved wood and equipped

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Painting accompanied by a certificate of photographic authenticity in accordance with the law (FIMA)