(Venice 1682 - Madrid 1752)
Portrait of a lady
Oil on canvas 46 x 32 cm.
Milan, Giorgio Baratti Collection
As soft and mild a drawing as a pastel painting outlines this enchanting portrait of a young girl, Jacopo Amigoni’s original work (Venice - some say Naples - 1682 - Madrid 1752) one of the most prominent representatives of the 18th century European painting.
Infused with deliciously rococo grace, this painting is admirable proof of the portrait-painting skills of Amigoni, who, preceded by the fame gained in England portraying the figures of the court and of the high aristocracy, during the years spent in Venice before his definitive departure for Spain proved once again his ability to assimilate the most innovative art of the moment. Amigoni could not avoid the grandeur of Rosalba Carriera, who, as perfectly summarised by Roberto Longhi in 1946, “could express with unparalleled strength the confused delicacy of the time.”
In our portrait, the subtle French allure acquired by the artist during his fleeting stay in Paris in 1936 gains substance by acquiring that incisive lightness that made the ladies portrayed by Rosalba immortal. In tune with the new tastes, Amigoni focuses the attention on the face of the young woman to surprise you, together with the physiognomic peculiarities and the intonation of a state of mind captured with vibrant visual flagrancy. The expression is returned with the palpitating evidence of a psychological animation in chiaroscuro evoked by the suspended attitude, stopped in time, between light and shadow. With unparalleled technique, the artist achieves exquisite refinement in shaping the girl’s looks and by painting the hues of her vest with beautiful pink and gold accents, which become impalpable evanescencies in the fluttering of the veil in the shadows of the background.
Stylistically matched with the Portrait of a young woman with a dog, English private collection, from the last period of his stay in England, our painting dates to the 1640s, when in the influence of Rosalba join with the portraiture of Amigoni for a warm and unprecedented introspective.
(From Dario Succi’s historical and critical board)
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