Cambiago (MI), IT
Details
- Dimensions
- 78.35ʺW × 1.18ʺD × 53.94ʺH
- 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 painting depicts an episode from Roman mythology referring to the young Roman heroine Clelia, who was …
more
Oil on canvas. The painting depicts an episode from Roman mythology referring to the young Roman heroine Clelia, who was given as a hostage, along with other maidens, to the Etruscan king Porsenna during peace negotiations with the city; Clelia managed to escape, however, by swimming across the Tiber. Porsenna demanded her return to the Romans, who agreed, but admiring her heroism, he decided to free her by allowing her to take other prisoners with her, whom Clelia chose from the younger ones. The moment depicted in the painting is precisely that of the crossing of the river, of which there is the personification in the foreground on the right, in the figure of the 'canine old man, accompanied by a young woman with a cornucopia. The scene is very dynamic, with Clelia and the other maidens creating a dense, bustling group around the horse ridden by the protagonist, as some versions of the tale recall; behind them are the tents of the Etruscan king's camp with some soldiers. Across the river is another group of women who have already made the crossing, while in the background we see the classical-looking Capitoline city. The work, as a small cartouche attests, is attributed to Domenico Lupini, an artist about whom not much is known but whose range of activity between Bergamo and Venice can be assumed. The only two signed works are a "Converted Magdalene" and an "Annunciation," but other works have been attributed to him. 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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