Pair Of Architectural Capricci From The Late 17th Century With Splendid Contemporary Frames.

Important pair of capriccios depicting sermons of the apostles to groups of believers, including mothers with their children, in front of classical remains and Corinthian temples. It is possible to attribute these landscapes among classical ruins to the talented Roman master Alberto Carlieri (Rome 1672 - 1720), active between the 17th and 18th centuries. These landscapes, which in terms of themes, scenic power and quality of the painted architecture, are slavishly based on those already executed in the mid-17th century by Giovanni Ghisolfi from Milan, the initiator of this pictorial genre, and which leave us, in fact, with some doubts as to whether they actually came from his workshop. But as regards the characterization of the characters and the style with which the lively figures were executed, there is no doubt that they belong to the compositional corpus of Carlieri, a very skilled landscape artist who is inserted between the landscapes of Ghisolfi and the later ones of Pannini. The latter was a very famous painter who, for his scenes with classical ruins, owed much to his predecessors, from whom he was inspired.
Of notable interest is that in one of the splendid contemporary gilded and carved frames they bear the rare signature "Gio. Batta", it is the Italianized signature of a very great Dutch painter: Jan Weenix (Amsterdam 1621-1661). He gained experience in this genre in the short period he spent in Rome between '42 and '46, probably coming into contact with the first experimenters of the genre of "landscapes with capricci of classical ruins", certainly, there was also the young Giovanni Ghisolfi (Milan 1623 - 1683), a very skilled painter who gave rise to precisely these specific architectural schemes.
These canvases would seem to show stylistic tangents closer and more similar to Carlieri, in particular in the lively figures with a late-Mannerist flavour, so it is difficult, but not to be excluded, that even in the presence of this signature, they can be backdated to the dawn of the genre and, therefore, accept the intervention of "Gio. Batta" or Ghisolfi.
On the other hand, it was a genre of enormous success so much so that it involved successive generations of great painters and masters, first of all Locatelli and Panini; making a certain attribution of such examples is often a tedious operation,  even if, between the probable executors there are decades of difference.

The measurements of the paintings are: Canvas 49 x 64cm - external frames 67 x 82cm.

The two canvases are in perfect state of conservation. The same goes for the golden "Salvador Rosa" frames.

We attach a certificate of historical guarantee that certifies the authenticity and age of the paintings, accompanied by photographic documentation

The paintings are visible in our antiques gallery in Foligno (PG), in the heart of Umbria. Come and visit us!


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Of notable interest is that in one of the splendid contemporary gilded and carved frames they report the rare signature "Gio. Batta", it is the Italianized signature of a very great Dutch painter: Jan Weenix (Amsterdam 1621-1661). He gained experience in this genre in the short period he spent in Rome between '42 and '46, probably coming into contact with the first experimenters of the genre of "landscapes with capricci of classical ruins", certainly, there was also the young Giovanni Ghisolfi (Milan 1623 - 1683), a very skilled painter who gave rise to precisely these specific architectural schemes.