Corrado Giaquinto

Italy (Molfetta 1690Napoli 1765 ) - Artworks Wikipedia® - Corrado Giaquinto
GIAQUINTO Corrado Spain Rendering Homage To Religion And The Catholic Church

Palais Dorotheum /Jun 16, 2009
3,000.00 - 4,000.00
Not Sold

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Variants on Artist's name :

Corrado Cavaliere

 

Artworks in Arcadja
141

Some works of Corrado Giaquinto

Extracted between 141 works in the catalog of Arcadja
Corrado Giaquinto - Medea Rejuvenating Aeson

Corrado Giaquinto - Medea Rejuvenating Aeson

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Lot number: 153
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LOT 153 CORRADO GIAQUINTO MOLFETTA 1703 - 1766 NAPLES MEDEA REJUVENATING AESON signed and inscribed by the artist on the reverse: Arazzi/Medea/ CG. oil on unlined canvas 100,000—150,000 USD measurements measurements note 29 by 21 1/2 in.; 73.5 by 54.5 cm. Description signed and inscribed by the artist on the reverse: Arazzi/Medea/ CG. oil on unlined canvas Called by Ferdinand VI in 1753 to the court of Madrid, CorradoGiaquinto was to spend nearly a decade in Spain, years that were tobe amongst the most productive, creative, and influential of hiscareer. His position as the preeminent artistic figure in thecountry was confirmed by his appointment as Primer Pintor delRey as well as director of the Academia di San Fernando, newlyformed by the art-loving Ferdinand. Almost all official artisticendeavors during his time in Spain were either supervised, approvedor undertaken by Giaquinto, and as a result his style wouldexercise considerable influence on the younger generation of hisfellow painters, including— amongst others— the young Francisco deGoya. Along with his many roles at court, Giaquinto was alsocharged with the running of the Real Fábrica de Tapices yAlfombras de Santa Bárbara , the royal Spanish tapestry factory,located in Madrid. There, in addition to more mundaneresponsibilities, he was charged with creating designs formanufacture, just as his immediate successors Mengs, and mostfamously Goya, would be later.1 The inscription"Arazzi " on the reverse of the canvas, in the artist's ownhand, confirms that the present painting is a design for just sucha wall-hanging, apparently never produced. The painting of bozzetti for many of his projects wastypical of Giaquinto, and during his Spanish sojourn they becameparticularly free and immediate in their handling. Using a grayground, he painted rapidly but surely in bright colors, and his oilstudies of these years have a particular beauty. A number of othersuch studies have also survived unlined, and also bear similarinscriptions like the present canvas and in a similar order: theplace or project for which they were intended, the subject, andfinally the artist's signature in initials.2 Such careappears to have been typical of Giaquinto who was workingsimultaneously on numerous projects. The subject of the presentpainting is derived from Ovid's Metamorphoses, book 7, when thesorceress Medea calls upon various deities to rejuvenate the fatherof her lover, Jason. 1. For a discussion of some of Giaquinto's activity with theSanta Barbara factory, please see L. de Frutos Sastre, "Giaquintocopista y Giaquinto copiado: Participación de Corrado Giaquinto enla Real Fábrica de Tapices de Santa Bárbara," in Corrado Giaquintoy España, exhibition catalogue, Madrid 2006, pp. 57-73.2. These include a number of paintings still in the Spanish Royalcollections (split between the Casita del Prínicpe, Escorial andthe Palace of Zarzuela) amongst them a set of oil studies ofVirtues and Muses which Corrado painted as designs for thedecoration of the Escalera Principal in the Palacio Real, Madrid(see Madrid exhibition op. cit., p. 229 passim).
Corrado Giaquinto - Saint Philip Neri

Corrado Giaquinto - Saint Philip Neri

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Lot number: 107
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Corrado Giaquinto (Molfetta 1703-1766 Naples) Saint Philip Neri oil on canvas 39¼ x 29 in. (89.6 x 73.6 cm.) Lot Notes In a letter to the present owner, Professor Nicola Spinosaconfirmed the attribution to Corrado Giaquinto, noting the'altissime qualità pittoriche' of the painting and proposing a dateat around 1760.
Corrado Giaquinto - The Infant Christ With Saint Dominic And Saint Nicholas

Corrado Giaquinto - The Infant Christ With Saint Dominic And Saint Nicholas

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Lot number: 111
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LOT 111 CORRADO GIAQUINTO MOLFETTA 1703-1766 NAPOLI THE INFANT CHRIST WITH SAINT DOMINIC AND SAINT NICHOLAS 10,000—15,000 GBP measurements measurements note 63.2 by 50 cm.; 24 7/8 by 19 5/8 in. Description oil on canvas, unlined, a bozzetto CATALOGUE NOTE We are grateful to Professor Nicola Spinosa for endorsing our attribution to Giaquinto on the basis of photographs.
Corrado Giaquinto - Spain Rendering Homage To Religion And The Catholic Church

Corrado Giaquinto - Spain Rendering Homage To Religion And The Catholic Church

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Lot number: 555
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Description:
Corrado Giaquinto (Molfetta 1699-1765 Naples) Study for “Spain Rendering Homage to Religion and the Catholic Church” (?) (1759), pen and black ink, grey wash, inscribed “Il Corrado fec.” in pen and brown ink at lower margin at centre, a winged figure and a putto with a lyre on the reverse, pen and brown ink, 24.2 x 29.7 cm, mounted, unframed, (Sch) Provenance: Maggiori Collection (inscribed “Aless. Maggiori compra a Roma nel 1816” in pen and brown ink on the reverse) Corrado Giaquinto began his training in the studio of Saverio Porto in Molfetta. In 1721 he moved to Naples. According to Giaquinto’’’’s earliest biographer De Dominici (1745) he entered the workshop of Nicola Maria Rossi, a follower of Solimena. Solimena’’’’s monumental and complex style influenced Giaquinto’’’’s entire work; several details in his altar paintings derive directly from compositions by Solimena. Equally important to the development of Giaquinto’’’’s style were the luminous fresco decorations of Luca Giordano for the Certosa di S Martino in Naples (1704). In March 1727 Giaquinto left for Rome where he turned to a classizising rococo-taste exemplified by works of Sebastiano Conca a follower of Carlo Maratti. Ciaquinto’’’’s reputation was firmly established in 1733 when he completed an extensive fresco cycle in the nave and cupola of the French church S Nicola dei Lorensi in Rome. In these frescoes the Baroque stylistic traditions developed by Pietro da Cortona, Maratti and Giordano were harmoniously synthesized. Further commissions followed and he painted the frescoes Triumph of the Gods, Apollo and Daphne and Death of Adonis in the Villa della Regina in Turin. After a brief stay in Turin in 1739 he painted a small ceiling fresco Assumption of the Virgin in the Palazzo Borghese. After his admission into the Accademia di San Luca in 1740 Giaquinto opened his own workshop and established his international reputation as Roman rococo-painter. During this period his style moved towards a more solid classicism as exemplified by Maratti, which became evident in the use of simplified compositional arrangements and figures with postures of quiet repose. From the beginning Giaquinto developed an array of stock figure types and compositional formulae which he also used in his later works. Because of his revision and perfection of formerly studied models and elements of yet executed works he did not make detailed preliminary studies in the sense of a precise “modello”. The majority of his drawings were quick schematic chalk drawings where he worked out poses and gestures of individual figures, the arrangement of drapery and figure groups. Studies for large-scale compositions, such as altar pieces and frescoes, were often executed in greater detail in pen and ink and grey wash. However, his drawings were not precise preliminary studies intended for transfer to the final picture as they were not squared. Giaquinto often worked out his pictorial ideas spontaneously in oil sketches painted on copper or canvas whose style and technique were imitated by Italian and Spanish followers. The present drawing could be a preliminary study or a variant of a fresco titled “Spain Rendering Homage to Religion and the Catholic Church” (1759) above the grand staircase of the new Palacio Real in Madrid. Other than in the completed fresco the enthroned allegory of Spain is looking to the left, the putto is not behind but next to her and also the arrangement of the figures was changed in the later version. However, the figures and gestures anticipate solutions of the executed fresco. A modello Giaquinto‘s in oil on canvas (1.68 x 1.54 m) in the Museo Diocesiano de la Seo in Saragossa seems stylistically even closer to the fresco.
Corrado Giaquinto - The Visitation

Corrado Giaquinto - The Visitation

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Gross Price
Lot number: 154
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Oil on canvas, unframed CATALOGUE NOTE This painting is another version by Corrado Giaquinto of a Visitation formerly in the Pucci Collection, Naples. The Pucci Visitation is an early work by Giaquinto based on Francesco Solimena's painting of the same subject for the altar of S. Maria Donnalbina, Naples.1 That picture, and other autograph paintings by Giaquinto modelled after works by Solimena, prove the strong influence that the elder Neapolitan artist had on the formative work of Giaquinto. We are grateful to Dr. Nicola Spinosa for identifying this work by Corrado Giaquinto based on firsthand inspection. 1. See N. Spinosa in Corrado Giaquinto: Il Cielo e la Terra, exhibition catalogue, Bologna 2005, p. 103, reproduced.
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