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Giacinto Gimignani

Italy (1611 -  1681 ) Wikipedia® : Giacinto Gimignani
GIMIGNANI Giacinto Christ And The Samaritan Woman At The Well

Palais Dorotheum
Oct 17, 2017
Find artworks, auction results, sale prices and pictures of Giacinto Gimignani at auctions worldwide.
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Variants on Artist's name :

Gemignani Giacinto

 

Along with Giacinto Gimignani, our clients also searched for the following authors:
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Artworks in Arcadja
72

Some works of Giacinto Gimignani

Extracted between 72 works in the catalog of Arcadja
Giacinto Gimignani - The Madonna And Child With S.s. Anthony Of Padua And Anthony Abbot

Giacinto Gimignani - The Madonna And Child With S.s. Anthony Of Padua And Anthony Abbot

Original
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Net Price
Lot number: 164
Other WORKS AT AUCTION
Description:
GIACINTO GIMIGNANI (1611-1681) The Madonna and Child with S.S. Anthony of Padua and Anthony Abbot, brown ink drawing with grey washes and heightened in white, squared in pencil, 22.5 x 14cm Prov. With John Baskett Ltd, 173 New Bond Street, London (Lots 158-170) A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi\’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990\’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
Giacinto Gimignani - Christ And The Samaritan Woman At The Well

Giacinto Gimignani - Christ And The Samaritan Woman At The Well

Original 1639
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Lot number: 303
Other WORKS AT AUCTION
Description:
Giacinto Gimignani (Pistoia 1606–1681 Rome) Christ and the Samaritan Woman at the well, indistinctly signed and dated on the base of the well lower center: HYACINTVS/GIM…/1639, oil on canvas, 76.5 x 62 cm, framed Provenance: sale, Christie\’s, New York, 19 April 2007, lot 93 (as Giacinto Gimignani) We are grateful to Ursula Verena Fischer Pace for confirming the attribution on the basis of a photograph and for her help in cataloguing the present painting. The painting shows the scene described in the Gospel of Saint John (4: 1–42) in which Christ reveals himself to the woman of Samaria at Jacob\’s well as the promised redeemer and succeeds in converting her to his teachings. Their encounter has always represented a symbol of the sacrament of baptism. In this intimate depiction, focusing on the dialogue between Christ and the Samaritan woman, the figures are viewed from close up as they have been pushed to the foreground of the composition. They appear in front of and next to the fountain against the backdrop of a tree-clustered, hilly landscape ascending in the distance and a fortified town. Christ\’s attire stands out for its powerful colour contrasts, with a vibrant red for the undergarment set off against the deep blue of his elaborately draped cloak. The colours used for the standing figure of the Samaritan woman on the right are more subdued, as she wears a yellowish golden dress over a white undergarment falling down from her left shoulder and a pale blue coat. In 1637, Gimignani had already tackled the subject of Christ and the Woman of Samaria in the form of a large and more crowded composition that had probably been commissioned from him by a member of the Medici family (243 x 272 cm, signed and dated 1637, Florence, Corsini Collection, Palazzo Corsini; U. V. Fischer, Giacinto Gimignani [1606–1681]. Eine Studie zur römischen Malerei des Seicento, doctoral thesis, Freiburg 1973, p. 137, no. 5). The Corsini painting shows the two figures at the fountain in the reverse direction, their gestures slightly differing, but against a similar landscape backdrop. The present painting could be described as a more intimate and abbreviated variant of the larger format. After the mid-1630s, Gimignani developed his own artistic language of expression, which, however, still betrayed a Cortonesque figural and landscape repertoire as a result of his activity in Pietro da Cortona\’s workshop at the beginning of his stay in Rome in 1630. His female figures in profile inspired by antiquity and frequently dressed in the ancient costumes are a characteristic element of his art and can almost be regarded as painted signatures of his works. Around the 1640s, his preference for a calmed-down formal idiom not only brings him close to Poussin and his French contemporaries active in Rome (for example, Pierre Mignard, François Perrier, Charles Dufresnoy), but also to Alessandro Turchi, whose daughter Gimignani married in 1640. It seems to have been no coincidence that both Turchi and Gimignani worked for Parisian patrons at the time. The intense palette and tranquil atmosphere of Giacinto\’s paintings may have been inspired by Turchi\’s works. The present painting is a characteristic example of Gimignani\’s highly productive output from those years. Specialist: Mark Mac Donnell
Giacinto Gimignani - Jacob’’s Encounter With Rachel And Laban

Giacinto Gimignani - Jacob’’s Encounter With Rachel And Laban

Original 1653
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Gross Price
Lot number: 66
Other WORKS AT AUCTION
Description:
Giacinto Gimignani (Pistoia 1606–1681 Rome) Jacob’’’’’’’’s encounter with Rachel and Laban, signed and dated lower right: Hyacinthus Gemignanus/P... 1653, oil on unlined canvas, 150x214cm, framed Fragments of a Rospigliosi coat-of-arms on the stretcher. Provenance: probably executed for the Rospigliosi family; Private European collection; where purchased by the present owner The present painting depicts a scene from an episode in the Old Testament (Genesis 29:13–14): Jacob’’’’’’’’s encounter with Rachel and Laban at the well, where Rachel was tending her father’’’’’’’’s sheep. Jacob fell in love with Rachel and asked Laban for her hand in marriage. In return for seven years of unpaid labour for Laban, Jacob would receive Rachel as his wife. Themes from the Old Testament in various sizes can repeatedly be found in Gimignani’’’’’’’’s oeuvre, particularly during the 1630s, such as Rachel Hiding the Idols in the Corsini Collection, Florence, signed and dated HYACINTHUS GIMIGNANUS PISTORIENISIS. A.S. 1638 (248x349cm). The painting Jacob and Rachel at the Well in the Palazzo Pitti in Florence, which most likely belonged to the Medici family, seems to date from the 1650s. However, the painting in Florence, which is smaller than the present composition, is more crowded and its landscape is different. The arrangement of the figures on a stage is similar to the present picture and is still close to the compositional approach of Pietro da Cortona, Gimignani’’’’’’’’s teacher at the beginning of his Roman period (from 1630 onwards). In 1652, Giacinto Gimignani and his family moved to Florence, where he stayed until 1661. The present painting dates from this period. The fragment of a Rospigliosi coat-of-arms on the stretcher suggests that the commission came directly from Pistoia, Gimignani’’’’’’’’s native town and also the birthplace of his most important patron, Giulio Rospigliosi. In 1667, following a long career in the church in Rome that had begun in the 1630s, Giulio ascended the papal throne as Clement IX. His pontificate ended in 1669. Between 1652 and 1654, Gimignani completed as many as twenty-five compositions featuring themes from the Old and New Testaments and mythology whilst in Florence. The most impressive of these was probably his Rape of the Sabine Women for the Rospigliosi’’’’’’’’s family palace in Pistoia (divided up between the Museo Clemente Rospigliosi in Pistoia and the collection of Pistoia’’’’’’’’s Cassa di Risparmio; Il Palazzo Rospigliosi di Ripa del Sale in una descrizione del 1832, ed. by Francesca Rafanelli, Pistoia 2011; Itinerari Rospigliosiani. Clemente IX e la famiglia Rospigliosi, ed. by Chiara d’’’’’’’’Afflitto and Danilo Romei, Pistoia 2000). Compared with the present composition, the figures have been pushed further to the foreground and are viewed from closer up, and a nuanced palette has been adopted, which is obliged to contemporary Florentine painting. There is also an emphasis on a sensual element in the depiction of the female figures, which has been achieved by the contrast between their three-dimensionally moulded bodies and the elaborate folds of the draperies enveloping the figures. The body language used by Gimignani complies with the rhetoric of contemporary sacred and secular theatre. We are grateful to Ursula Verena Fischer Pace for her help in cataloguing the present painting
Giacinto Gimignani - Hercules In The Garden Of The Hesperides

Giacinto Gimignani - Hercules In The Garden Of The Hesperides

Original
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Gross Price
Lot number: 10
Other WORKS AT AUCTION
Description:
GIACINTO GIMIGNANI (Pistoia 1606-1681 Rome) Hercules in the garden of the Hesperides black chalk, pen and brown ink, brown wash, heightened with white 8 1/8 x 11 in. (20.6 x 27.9 cm.)

For this drawing, Gimignani was likely inspired by Pietro da Cortona\’\’\’\’\’\’\’\’s (1596-1669) design of Hercules and Flora (Berlin, Kupferstichkabinett), executed as a frontispiece for Giovanni Battista Ferrari\’\’\’\’\’\’\’\’s Hesperides published in 1646. We are grateful to Professor Jörg Merz for confirming the attribution to Gimignani based on a digital image.

Provenance Anonymous sale; Sotheby's Olympia, London, 20 April 2004, lot 19, where acquired by the present owner. Pre-Lot Text ITALIAN DRAWINGS FROM AN IMPORTANT PRIVATE COLLECTION
Giacinto Gimignani - Venus, Cupid And Chronos

Giacinto Gimignani - Venus, Cupid And Chronos

Original
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Gross Price
Lot number: 585
Other WORKS AT AUCTION
Description:
Giacinto Gimignani
(Pistoia 1606–1681 Rom)

Venus, Cupid and Chronos,

oil on canvas, 224 x 307.5 cm, unframed

Provenance:

sale Sotheby\’\’\’\’s, London, 4 July 1990, lot 120;

sale Semenzato, Venice, 8 November 1992, lot 65;

European Private Collection

Vividly rendered allegorical and historical subjects were Gimignani\’\’ \’\’s preferred genre. The artist has rendered the present scene with a sense of human life and empathy, almost like a family tragedy, with the bearded old Chronos harassing a nude young Cupid by plucking at his feathers, so that the infant cannot help crying and Venus, his mother, pleads for help. There are several versions of Venus, Cupid and Chronos – Allegory of the Transience of Love by Gimignani. The artist even dealt with the theme in a ceiling fresco for a Roman palace, where Venus, on a chariot drawn by doves, comes flying towards Chronos through the clouds in order to free Cupid from the arms of the old man, plucking the feathers from the child\’\’\’\’ s wings one by one. The fresco in the Palazzo Cavallerini in Rome dates from the 1660s. A very similar version of the subject, which is signed and dated 1664, is conserved in a Roman private collection. Upon comparison to other paintings from the 1660s, the present monumental version has to be dated to the same period, due to stylistic reasons.

Giacinto Gimignani, a student of Pietro da Cortona, was chiefly active in Rome from 1630 onwards, except for a lengthy sojourn in Florence during the 1650s. He left behind an extensive painted oeuvre, which, within the variegated panorama of Roman 17th-century painting and because of both its explicit classicist features and its colour scheme – inspired by Poussin and Alessandro Turchi – exhibits unmistakably personal features. Besides altarpieces for Roman churches, the artist worked for churches in Piedmont, Emilia-Romagna, Umbria, the Marches, and Naples.

We are grateful to Dr. Ursula Verena Fischer Pace for confirming the attribution of the present painting and for her help in cataloguing the work.
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