Portrait of the philosopher Heraclitus, Giovanni Battista Beinaschi (Fossano ca. 1634 – Naples 1688)

Giovanni Battista Beinaschi (Fossano ca. 1634 – Naples 1688)

Portrait of the philosopher Heraclitus (absorbed in reading)

Oil on canvas (82 x 64 cm – Framed 95 x 75 cm.)

Painting details (click HERE)

The painting shows an intense image of the Greek philosopher Heraclitus, portrayed as a mature man holding a book in his hands, emblem of a life dedicated to study, and is proposed here as a pendant to the portrait of the philosopher Democritus (see photo in details).

This type of subject, dedicated to the great philosophers or scholars of antiquity, was very dear to the figurative tradition and the collecting taste of the seventeenth century: in our case we have one of the two key figures of pre-Socratic philosophical thought, often compared because of their opposing yet complementary visions of the human condition.

If we go into the details of the iconography of the two philosophers, Heraclitus and Democritus, the portrait presented here follows the tradition which, in general, contrasts the shadowy and contemplative nature of the former with the more open and detached character of the latter, detached from the evolution of the world.

This opposite attitude towards reality and the human condition made them symbolic figures in thought and a favourite subject for several artists, especially in the Baroque era, for their strong symbolic value and for their implications in the interpretation of the human condition (1).

In the proposed painting, in particular, Democritus 'the atomist philosopher', directs a fixed and detached gaze at the observer, which represents his vision of life.

According to his philosophy, all reality is merely a meaningless dance of atoms, and therefore it's futile to strive for meaning in existence. There's no point in pining over the absurdity of the world, but rather, distance yourself from your passions and approach them lightly.

The observer is captivated by the enigmatic nature of his expression and the book with the white cover that the philosopher holds in his hand becomes its symbol.

In the painting presented here, in particular, Heraclitus, 'the dark philosopher', turns his frowning gaze to the open book, aware of the tragic fragility that overwhelms things, with the gesture of his hand as if leafing through its pages.

Regarding the style of the proposed work, the scholar is depicted with a profoundly scenographic setting in a vigorous, baroque style, with marked facial features. The backlighting effects and a magical chiaroscuro atmosphere give the figure a dynamic feel, as he is oriented toward a light source that bathes his face.

By studying the characteristics and related details, we can narrow down its attribution to the late Baroque painter Giovan Battista Beinaschi (1634–1688), whose prolific activity was concentrated between Rome, where he trained, and Naples. Nevertheless, he moved frequently throughout his career between Turin, Parma, perhaps Bologna, and Genoa, absorbing a variety of artistic influences from each place.

If, at first, he showed a propensity for Roman classicism, this influence was soon supplanted by an increasingly pronounced rapprochement with the Baroque cultural front.

(1) We can find in art many examples with this interesting iconography, for example in the “Heraclitus and Democritus” by Hendrick ter Brugghen (1619, property of Christie's, London, https://www.christies.com/en/lot/lot-6298681?ldp_breadcrumb=back ), or in the same subject by Gregorio Preti (https://mattia-preti.it/279-eraclito-e-democrito/ ).

ADDITIONAL INFORMATION:

The work is sold complete with a gilded wooden frame and is accompanied by a certificate of authenticity and descriptive iconographic card.

We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works.

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