Domenico I Piola

Domenico Piola (Genoa 1627-1703) Angels and putti making music in the clouds black chalk, pen and brown ink, brown wash 9 x 7¼ in. (22.6 x 18.5 cm.) with Charles E. Slatkin Galleries, New York. Related to the The Magdalen receiving the Viaticum from Saint Maximus, a painting by Francesco Vanni (Genoa, church of Nostra Signora Assunta di Carignano) extended at the top by Piola with putti playing music on clouds (D. Sanguinetti, Domenico Piola e i pittori della sua "casa", Soncino, 2004, I, p. 149, fig. 41).

Piola, Domenico (Genua 1627 - Genua 1703) Companion Pieces: Allegories of Geometry Ca. 1671, oil/canvas, each 49 x 73 cm, some rest., relined. - Authentication: Prof. Ugo Ruggieri, Venice. The pictorial execution of the soft skin of the children, their loveliness and the warm colours suggest a date of origin around 1671.

Domenico Piola (Genoa 1627-1703) The Rest on the Flight to Egypt: a modello oil on canvas 24 1/8 x 18 5/8 in. (61.2 x 47.2 cm.) Domenico Piola was the key figure in a family of pre-eminent and prolific artists working in Liguria in the latter part of the 17th century. Domenico began his career at the age of seven, an apprentice to his elder brother Pellegro. While he received commissions in Milan, Bologna, Piacenza and Asti in the mid-1680s, Domenico remained in Genoa for most of his life. He forged a strong reputation as a painter in his home town and word of his fame spread beyond Genoa through his work as a draughtsman; a large quantity of his drawings appeared in texts and as frontispieces. This modello relates to Piola's altarpiece in the Chiesa di Santo Stefano in Genoa, which was formerly in the Chiesa di Gesù e Maria di Purificazione (see D. Sanguineti, Domenico Piola e i pittori della sua 'casa', Edizioni dei Sancino, 2004, vol. II, fig. 229, illustrated p. 555). As Sanguineti notes, the composition evidences Piola's constant effort to find new ways of executing the many religious commissions with which he was charged. The rich depiction of the drapery, the crumbling ruins and the 'delightful circle of angels' (as Sanguineti describes them) contribute to create an elegant and moving picture.

Domenico Piola (Genoa 1627-1703) Christ healing the sick with inscription 'D o Piola' (on the mount) traces of black chalk, pen and brown ink, brown wash,unframed 17 x 12 in. (43.1 x 30.5 cm.) with Galerie Gabor Kekko, Lucerne, Meisterzeichnungen II,[undated], no. 16, and Meisterzeichnungen V, [undated], no.20. PROPERTY FROM A DISTINGUISHED CANADIAN COLLECTION (LOTS 17,22-23, 26, 30-32, 38)

LOT 260 SOLD BY THE J. PAUL GETTY MUSEUM TO BENEFIT FUTURE PAINTINGACQUISITIONS DOMENICO PIOLA GENOA 1627 - 1703 MADONNA AND CHILD ADORED BY SAINT FRANCIS OF ASSISI oil on canvas, unframed 60,000—80,000 USD measurements note 114 1/2 by 67 in.; 290.8 by 170.2 cm. PROVENANCE Commissioned from the artist for the Church of San Domenico,Genoa, later abandoned in 1798;R.D. Score, Beverly Hills, California, by 1968;His sale, ('The Property of Mr. and Mrs. R.D. Score, Los Angeles'),New York, Parke-Bernet Galleries, Inc., 22 October 1970, lot70;Where acquired by The J. Paul Getty Museum, Malibu. LITERATURE AND REFERENCES R. Soprani and C.G. Ratti, Vite de' pittori, scultori edarchitetti genovesi, 1768, vol. II, p. 37;E. and F. Poleggi, eds., Descrizione della città di Genova da unanonimo del 1818, Genoa 1969, pp. 286-289;B. Fredericksen, Catalogue of the Paintings in The J. Paul GettyMuseum, Malibu 1972, p. 53, no. 58;B. Fredericksen, The J. Paul Getty Museum: Greek and RomanAntiquities, Western European Paintings and French Decorative Artsof the Eighteenth Century, London 1975, p. 97, reproduced;L. Cristin, ed., The J. Paul Getty Museum Guidebook, Malibu 1975,p. 63;The J. Paul Getty Museum Guidebook, Malibu 1976, p. 67;The J. Paul Getty Museum Guidebook, Malibu 1978, p. 82;L. Magnani, "Cultura laica e scelte religiose: artisti, committentie tematiche del sacro," in La Pittura in Liguria. Il secondoSeicento, Genoa 1990, p. 462 (note 269);D. Jaffé, Summary Catalogue of European Paintings in The J. PaulGetty Museum, Los Angeles 1997, p. 96, reproduced;D. Sanguineti, Domenico Piola e i pittori della sua casa, Soncino2004, vol. II, pp. 394-395, no. I.54, reproduced tav. XXX. CATALOGUE NOTE Although Federico Zeri was the first modern scholar to identifythis large-scale, impressive painting as the work of DomenicoPiola, it is actually fully documented in the early sources. Forexample, in their Vite de' pittori, scultori ed architetti genovesiof 1768, Soprani and Ratti identify this work as one of twoaltapieces by Piola that hung in the Church of San Domenico inGenoa: "The church... possesses two paintings by Piola, namely thatof Saint Thomas Aquinas in front of the crucifix, and that of SaintFrancis of Assisi in front of the Virgin; both richly adorned withangels and putti in very fanciful movement."1 Inaddition, an anonymous account of the city from the earlynineteenth century identifies the present composition as the workthat hung over the third altar of the right nave of thechurch.2 Although San Domenico was Genoa's largestchurch and possessed many impressive works of art, it had graduallyfallen into disrepair, was closed by 1798 and completely demolishedin the nineteenth century. It is fortunate that Piola's altarpiecesurvived, as other works of art, including a set of frescoes byStrozzi, were destroyed.The dramatic, diagonal movement of the composition and tenderconnection between the Christ Child and Saint Francis arecharacteristic of Piola's work from this period. The representationof the beardless Dominican friar holding the chalice and crucifixhas been identified as Saint Thomas Aquinas; and it could be thatthe book that is held prominently and studied by the two putti inthe foreground is a reference to his theological writings, as theother altarpiece that Piola completed for the Church of SaintDominic, Saint Thomas Aquinas Adoring the Crucifix (now in theChiesa della Santissima Annunziata del Vastato, Genoa), employs asimilar motif.1. R. Soprani and C.G. Ratti, op. cit.: "La Chiesa di S. Domenicopossiede due tavole dipinte dal Piola; e sono, quella di S. Tommasod'Acquino davanti al Crocifisso, e quella di S. Francesco d'Assisidavanti alla Vergine; ambe ricche d'Angioletti, e di putti inlegiadrissime movenze."2. E. & F. Poleggi, op. cit.: "La disposizione degli altari erala seguente, con le t Although Federico Zeri was the first modern scholar to identifythis large-scale, impressive painting as the work of DomenicoPiola, it is actually fully documented in the early sources. Forexample, in their Vite de' pittori, scultori ed architetti genovesiof 1768, Soprani and Ratti identify this work as one of twoaltapieces by Piola that hung in the Church of San Domenico inGenoa: "The church... possesses two paintings by Piola, namely thatof Saint Thomas Aquinas in front of the crucifix, and that of SaintFrancis of Assisi in front of the Virgin; both richly adorned withangels and putti in very fanciful movement."1 Inaddition, an anonymous account of the city from the earlynineteenth century identifies the present composition as the workthat hung over the third altar of the right nave of thechurch.2 Although San Domenico was Genoa's largestchurch and possessed many impressive works of art, it had graduallyfallen into disrepair, was closed by 1798 and completely demolishedin the nineteenth century. It is fortunate that Piola's altarpiecesurvived, as other works of art, including a set of frescoes byStrozzi, were destroyed.The dramatic, diagonal movement of the composition and tenderconnection between the Christ Child and Saint Francis arecharacteristic of Piola's work from this period. The representationof the beardless Dominican friar holding the chalice and crucifixhas been identified as Saint Thomas Aquinas; and it could be thatthe book that is held prominently and studied by the two putti inthe foreground is a reference to his theological writings, as theother altarpiece that Piola completed for the Church of SaintDominic, Saint Thomas Aquinas Adoring the Crucifix (now in theChiesa della Santissima Annunziata del Vastato, Genoa), employs asimilar motif.1. R. Soprani and C.G. Ratti, op. cit.: "La Chiesa di S. Domenicopossiede due tavole dipinte dal Piola; e sono, quella di S. Tommasod'Acquino davanti al Crocifisso, e quella di S. Francesco d'Assisidavanti alla Vergine; ambe ricche d'Angioletti, e di putti inlegiadrissime movenze."2. E. & F. Poleggi, op. cit.: "La disposizione degli altari erala seguente, con le tavole che li decoravano: al primo a destra S.Giacinto avanti la Vergine del Sarzana, al secondo la Deposizionedella croce del Semino, al terzo S. Francesco d'Assisi avanti laVergine di Domenico Piola..."