Cambiago (MI), IT
Details
- Dimensions
- 21.65ʺW × 0.79ʺD × 15.35ʺH
- Art Subjects
- Figure
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Unknown, Some Imperfections
- Color
- Condition Notes
- Good — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal … moreGood — This vintage item remains fully functional, but it shows sign of age through scuffs, dings, faded finishes, minimal upholstery defects, or visible repairs\. Please note that an additional handling period of up to 4 weeks may apply to this item, if it must be delivered out of Italy. less
- Description
-
Oil on canvas.The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius …
more
Oil on canvas.The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for praying to his God, was condemned to be thrown into the lions' den.But God saved Daniel by sending an angel to close the jaws of the beasts, and the king pardoned Daniel by having those who had denounced him condemned instead. The subject has been depicted several times in art, for the fascination associated with the story but also for its exotic flavor due to the presence of the beasts; in particular, one recalls Rubens' version of 1615, where the prophet is depicted, naked in the pit beneath the earth, praying ardently, surrounded by a crowd of ferocious lions. Instead, the work presented here proposes a version centered on the dialogue between the prophet and the angel, who face each other standing out with the vivid colors of their robes against the dark background of a dungeon; there is only one lion, crouched meekly at the angel's feet, and the spiritual and salvific dimension of the biblical event thus prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the 'opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) because of the compositional and chromatic choices.The painting, restored and re-tinted, is presented with a lath frame. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity
issues arising from misattribution less
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