Alessandro Magnasco

Alessandro Magnasco (February 4, 1667 – March 12, 1749), also known as il Lissandrino, was an Italian late-Baroque painter active mostly in Milan and Genoa. He is best known for stylized, fantastic, often phantasmagoric genre or landscape scenes. Magnasco's distinctive style is characterized by fragmented forms rendered with swift brushstrokes and darting flashes of light.

Life

Born in Genoa to a minor artist, Stefano Magnasco, he apprenticed with Valerio Castello, and finally with Filippo Abbiati (1640–1715) in Milan. Except for 1703–09 (or 1709–11)Wittkower 1993, p. 478 when working in Florence for the Grand Duke Cosimo III, Magnasco labored in Milan until 1735, when he returned to his native Genoa. Magnasco often collaborated with placing figures in the landscapes of Tavella and the ruins of Clemente Spera in Milan.

Mature style

After 1710, Magnasco excelled in producing small, hypochromatic canvases with eerie and gloomy landscapes and ruins, or crowded interiors peopled with small, often lambent and cartoonishly elongated characters. The people in his paintings were often nearly liquefacted beggars dressed in tatters, rendered in flickering, nervous brushstrokes. Often they deal with unusual subjects such as synagogue services, Quaker meetings, robbers' gatherings, catastrophes, and interrogations by the Inquisition. His sentiments regarding these subjects are generally unclear.

A century later he would be described as a "romantic painter: who painted with candid touches, and ingenious expressiveness, little figures in Gothic churches; or in solitude, hermits and monks; or scoundrels assembled in town squares; soldiers in barracks". The art historian and critic Luigi Lanzi described him as the '' Cerquozzi'' of his school; thereby signaling him into the circle of followers of the Bamboccianti. He indicates that Magnasco had "figures scarcely more than a span large ... painted with humor and delight", but not as if this effect had been the intention of the painter. Lanzi says these eccentric pieces were favored by the Grand Duke Giovanni Gastone Medici of Florence. Magnasco also found contemporary patronage for his work among prominent families and collectors of Milan, for example the Arese and Casnedi families. This series of patrons underscores the fact that Magnasco was more esteemed by outsiders than by his fellow Genoese; as Lanzi noted, "his bold touch, though joined to a noble conception and to correct drawing, did not attract in Genoa, because it is far removed from the finish and union of tints which (Genoese) masters followed."Lanzi, p. 287. In the twentieth century, Rudolf Wittkower derided him as "solitary, tense, strange, mystic, ecstatic, grotesque, and out of touch with the triumphal course of the Venetian school" from 1710 onward.

Origins of his style

The influences on his work are obscure. Some suspect the influence of the loose painterly style of his Venetian contemporary Sebastiano Ricci (1659–1734), the Genoese Domenico Piola (1627–1703) and Gregorio de Ferrari, although the most prominent of the three, Ricci, painted in a more monumental and mythic style, and these artists may in fact have been influenced by Magnasco. Magnasco was likely influenced by Milanese ''il Morazzone'' (1573–1626) in the emotional quality of his work. Some of his canvases (see ill. (q.)) recall Salvator Rosa's romantic sea-lashed landscapes, and his affinity for paintings of brigands. The diminutive scale of Magnasco's figures relative to the landscape is comparable to Claude Lorraine's more airy depictions. While his use of figures of ragged beggars has been compared with Giuseppe Maria Crespi's genre style, Crespi's figures are larger, more distinct, and individual, and it is possible that Crespi himself may have influenced Magnasco. Others point to the influences of late Baroque Italian genre painters, the Roman Bamboccianti, and in his exotic scenography, the well-disseminated engravings of the Frenchman Callot.

Legacy

Magnasco's work may have influenced Marco Ricci, Giuseppe Bazzani, Francesco Maffei, and the famed painters ''de tocco'' (by touch) Gianantonio and Francesco Guardi in Venice.

His depictions of torture in ''The Inquisition'' (or perhaps named ''Interrogations in a Jail'') are an atypical subject for Italian baroque paintings, as were his depictions of the religious ceremonies of Jews and Quakers. Yet it remains unsolved, according to Wittkower, "how much quietism or criticism or farce went into the making of his pictures".Wittkower, 1993, p. 478

Selected works

File:'The Tame Magpie', oil on canvas painting by Alessandro Magnasco, c. 1707-8, Metropolitan Museum of Art.JPG, ''The Tame Magpie'' (1707–08) Metropolitan Museum of Art
File:Alessandro Magnasco - Interrogations in Jail - WGA13849.jpg, ''Interrogations in Jail'' (c. 1710) Kunsthistorisches Museum
File:Alessandro Magnasco and Clemente Spera - Banditti at Rest.jpg, ''Banditti at Rest'' (with Clemente Spera) (c. 1710) Hermitage Museum
File:Alessandro Magnasco - Garden Party in Albaro - Google Art Project.jpg, ''Garden Party in Albaro'' Strada Nuova Museums Genoa
File:Alessandro Magnasco - Gypsy Wedding Banquet - WGA13848.jpg, ''Gypsy Wedding Banquet'' (1730–35) Louvre
File:Alessandro Magnasco - Dissipation and Ignorance destroy the Arts and Sciences.jpg, ''Dissipation and Ignorance destroy the Arts and Sciences'' (1735–1740) private collection
File:A. Magnasco-Musée des Bx-Arts Strasbourg-Nonnes (2).jpg, ''Nuns'' Musée des Beaux-Arts de Strasbourg
File:Alessandro Magnasco dit il Lissandrino - Funérailles juives, 1720 - Musée d'art et d'histoire du Judaïsme.jpg, ''Jewish Funeral'', oil on canvas, 87 x 117 cm, Musée d'Art et d'Histoire du Judaïsme
File:Christ at the Sea of Galilee.jpg, ''Christ at the Sea of Galilee'' (c. 1740) National Gallery of Art Washington DC
File:Exorcism-of-the-waves.jpg, ''The Exorcism of the Waves'' (c. 1735), Memorial Art Gallery Rochester NY
File:Alessandro Magnasco - Christ Served by the Angels - WGA13847.jpg, ''Christ attended by the Angels''. C. 1705. Prado Museum. Madrid. Magnasco and Peruzzini.
File:Alessandro Magnasco - The Painter’s Workshop or Il pittor pitocco.jpg, ''The painter's workshop''. c. 1720. Real Academia de Bellas Artes de San Fernando. Madrid.

Notes

References

*Raffaello Soprani, Carlo Giuseppe Ratti (a cura di), ''Vite de Pittori, Scultori ed Architetti Genovesi''; In questa seconda Edizione rivedute, accresciute ed arricchite di note da Carlo Giuseppe Ratti Tomo Primo, Stamperia Casamara, dalle Cinque Lampadi, con licenza de superiori, Genova, 1769. Pagine 155-164
*Herman Voss, ''A Re-discovered Picture by Alessandro Magnasco'', in ''The Burlington Magazine'', LXXI, pp. 171–177. London 1937
*''A Loan Exhibition of Paintings by Alessandro Magnasco'', exhibition catalogue, Durlacher Bros, New York
*''Golden Gate International Exhibition'', California Palace of Fine Arts, San Francisco, 1940
*Maria Pospisil, ''Magnasco''. Firenze 1944
* Benno Geiger, ''Magnasco''. Bergamo 1949
*Antonio Morassi, ''Mostra del Magnasco'', exhibition catalogue, Bergamo 1949
*Renato Roli, ''Alessandro Magnasco'', Milano 1964
*V.Magnoni, ''Alessandro Magnasco'', Roma 1965
*''Alessandro Magnasco'', exhibition catalogue, Louisville-Ann Arbor, 1967
*Fausta Franchini Guelfi, ''Alessandro Magnasco''. Genova 1977
*
*Fausta Franchini Guelfi, ''Alessandro Magnasco''. Soncino (Cr) 1991
*
*L.Muti - D. De Sarno Prignano, ''Magnasco''. Faenza 1994
*''Alessandro Magnasco 1667-1749''. Exhibition catalogue. Milano 1996
*C. Geddo, ''Alessandro Magnasco: una fortuna critica senza confini'', ibidem, pp. 39–50
*Jane Turner (a cura di), ''The Dictionary of Art''. 20, pp. 95–96. New York, Grove, 1996.

External links

{{DEFAULTSORT:Magnasco, Alessandro
1667 births
1749 deaths
17th-century Italian painters
Italian male painters
18th-century Italian painters
Painters from Genoa
Italian vedutisti
Rococo painters
Italian Baroque painters
18th-century Italian male artists