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Giovanni StanchiImmaculate Madonna within garland painting Giovanni Stanchi and Girolamo Pesci
About the Item
Giovanni Stanchi (Rome, 1608 - 1675) and Girolamo Pesci ( Rome 1679 - 1759)
Immaculate Madonna within floral garland
Oil on canvas, cm 95 x 72
Frame, cm 106 x 83
Expert opinion of Prof. Emilio Negro
The present painting is the result of a happy collaboration between two painters: the first author of the religious image, the other of the garland of fresh flowers, the real star of the painting. The figure depicted is an Immaculate Conception, the dogma, that is, the truth of faith, whereby Our Lady was "untouched" by original sin, she was preserved by it from the first moment of her conception. In the center of the composition therefore, Our Lady is surrounded by golden clouds and enveloped in a divine light; clad in a white robe and blue mantle, she opens her arms in prayer, offering her eyes toward heaven while resting her feet on a half-moon, an iconographic symbol often found in Immaculate Conceptions. Along with her are a pair of angels and a pair of cherubim. The figure by stylistic references can be related to the hand of the painter Girolamo Pesci (Rome 1679 - 1759) who became a member of the prestigious congregation of Roman painters called de Virtuosi al Pantheon" managed to distinguish himself among the exponents of the school of Maratta. He was later seduced by Trevisani's style, which would mark his art in lightness, expressive delicacy, and a distinct taste for shaded and pearly colors-a deference to the Venetian colorism typical of Trevisani. This Immaculate Conception may in fact be related to the Eucharist of the Virgin from the Church of St. Joseph at the Lungara, the Ecstasy of St. Francis from the Civic Museum in Rieti, but also the Ascension of the Virgin from the Church of St. Mary Magdalene in Rome.
Instead, the garland is without any doubt attributable to the hand of Roman painter Giovanni Stanchi (Rome, 1608 - 1675). The author, who distinguished himself among the best naturamortists active in Rome during the Baroque age, founded a workshop in which his brothers Angelo and Nicolò would work, demonstrating a synergy of purpose and an extraordinary consistency of quality.
The Stanchi and their paintings were sought after by the most important families of the Roman aristocracy, from the Colonna to the Chigi to the Rospigliosi, and present since the end of the century in the Medici collections. Extremely varied in type but stylistically consistent, the production of the Stanchi can be divided according to the subjects proposed: first of all, the garlands, of which the proposed canvas is a fine example, related to the Flemish model made famous in Rome by Daniel Seghers, and probably largely referable to Giovanni. In particular, the present one can be related to the Vase of Flowers, Putti and Little Bird and the Garland of Flowers of Palazzo Colonna (paintings on mirror whose figures are made by Carlo Maratta), the Garland of Flowers and Butterflies of the Pinacoteca Nazionale di Bologna and the Still Life with Glass Ampoule and Fruit Basket of Galleria Pallavicini but also the festoon of flowers of the Musée des Beaux-Arts, Nantes and the garland of the Museum of Still Life of Poggio a Caiano
In these paintings there is the same bright and whimsical painting, made by strokes of light, characteristic of paintings executed in the years of the master's full artistic maturity.
Among the flowers represented are tulips, roses, and anemones that seem to have symbolic meaning: they are metaphors for the transience of life and earthly beauty, which, like flowers, wither slowly.
- Creator:Giovanni Stanchi (1608 - 1675, Italian)
- Dimensions:Height: 41.74 in (106 cm)Width: 32.68 in (83 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639213034372
Giovanni Stanchi
Giovanni Stanchi, known as Dei Fiori (Rome, about 1608 - 1675), was an Italian painter. Author of still lifes, his flower paintings are remarkable. He is present in many art catalogs and antiques auctions. A painting of him (Garland of flowers and butterflies) is exhibited at the Uffizi Gallery in Florence. We still know little about Giovanni Stanchi and about the rest of his prolific family of naturamortists, who worked in Rome for almost the entire seventeenth century, and even less do we know how their workshop and their collaborations were organized (very close at least since the fifth decade of the seventeenth century, not only in the largest and most demanding canvases), so much so that some scholars prefer not to venture into the distinction of individual hands. In any case, it is likely that Giovanni, born several years before the brothers Niccolò and Angelo, is one of the artists who marked the transition from Caravaggesque naturalism to the more mature phase of Baroque decorativism. Indeed, it is possible that he - together with Michelangelo Cerquozzi, with whom he has many affinities - was trained in the workshop of Agostino Verrocchio, perhaps the most important in Rome in the third / fourth decade of the seventeenth century and the last custodian of naturalism at the beginning of the century, as he hypothesized the art historian Alberto Cottino.
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