After Giulio Sanuto, Scene with Mythological Subject, 17th Century, Oil on Canvas, Framed

Description

Oil painting on canvas. North Italian school of the seventeenth century. The large canvas derives from an incision of 1562 … more Oil painting on canvas. North Italian school of the seventeenth century. The large canvas derives from an incision of 1562 by the Venetian Giulio Sanuto, who faithfully resumed the homonymous work of the Bronzino (1503-1572), currently preserved in Hermitage; Compared to the original, the incision added the group of Muses and modified the landscape background by introducing the views of the countries. Apollo and the Silenus Marsia, which sounded the flute so well that it was considered superior to the same God; The two contenders are performing, the god with the lira and the Silenus with the flute even turned upside down (to increase the difficulty of the company), in front of King Midas and the goddess Minerva, recognizable by his attributes, the helmet, the Lancia and the shield. In the second scene Apollo is intent on scrolling Marsia, to punish him from having won the music race; He supported on the ground next to him, his cloak and the lira. In the third scene, he is King Mida to be punished by the god for having preferred Marsia: Apollo is putting his donkey's donkey in Mida, while Minerva assists the fourth. Scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: as Mida had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and shouted there in his secret; In that place, however, legend has it that a bush of rods grew that with the wind whispered 'King Midas has the donkey ears', thus revealing the feared secret. The painting was previously restored and restored, but currently needs possible Further recovery of the color. Sulk retro in pencil there is an old attribution to the Ferrarese school ('Hercules from Ferrara'). It is presented in a setting in the late 19th century style. 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