Flowered garland with portrait of the Virgin, Francesco Trevisani (1656 – 1746) and Niccolò Stanchi (1623 – 1690), attributable

Flowered wreath with portrait of the Virgin

Francesco Trevisani (Capodistria 1656 – Rome 1746) and Niccolò Stanchi (Rome 1623 – 1690), attributable

Oil painting on canvas
66 x 49 cm. – in frame 76 x 60 cm.

The beautiful painting that we are pleased to present to you illustrates an opulent garland studded with a refined variety of flowers, highlighted by the contrast with the black background, distinguished by an elegant structure as well as the characteristic liveliness and brilliance of the colours. Inside her there is a portrait of the Virgin in prayer with her hands clasped to her chest.

This iconographic typology, i.e. the garland of flowers in which a sacred subject is inscribed, has Flemish origins, which then also spread to Italy, in Rome in particular, where the first experiments in this sense can be traced back to Giovanni Stanchi and Mario Nuzzi, who remained always indebted to Nordic culture, as can be seen from the ethereal naturalism that characterizes their creations.

Going into the details of our canvas, it is easy to deduce that it is the result of the happy collaboration of two painters who, as usual for such creations, could dedicate themselves to their own specialization, one to the religious image the other to the garland of fresh flowers .

In particular, the half-bust of the Virgin harks back to the Marian inventions of Francesco Trevisani (Capodistria 1656 – Rome 1746), fully reflecting his modus pingendi, with his typical expressive delicacy and strong taste for shaded and pearly colours. In particular, there are strong analogies with the work of the master, a fundamental reference for many artists of the second half of the seventeenth century in Rome and an object of study and inspiration still relevant in the eighteenth century.

The elegant ease of touch and the sensual refinement typical of Trevisani, combined with a very accurate chiaroscuro rendering, inherited from his artistic training in Venice, and the exceptional sweetness of the drawing, the floridity of the complexion, and finally, the peculiar pose of the portrayed figure (the unmistakable beauty of the two hands raised to the chest), further support our attribution.

The garland, however, can be attributed to the hand of the Roman painter Niccolò Stanchi (Rome 1623 – 1690), who distinguished himself among the best nature-mortists active in Rome during the Baroque age.

The Stanchi, Niccolò, Angelo and Giovanni, founder of the workshop, constituted one of the most fervent still life workshops in Baroque Rome starting from 1630, sought after by the most important families of the Roman aristocracy, from the Colonna, to the Chigi, to the Rospigliosi, and present since the end of the century in the Medici collections.

The painting is pervaded by a sumptuous elegance, given by the sinuous movement of the flowers, drawn with precision, and linked together in a sort of melody that unites them in a breath of baroque taste, as well as by the ethereal figure of the Virgin at the center of the canvas.

The counterpoint of the chromatic range combines the soft pinks of the peonies with the ethereal white of the roses and orange blossoms, although what stands out and makes our canvas aristocratic is undoubtedly the preponderance of the intense blue of the anemones and hyacinths, which gives a masterful touch of aristocratic elegance to the composition.

The work is completed by a beautiful golden frame and is sold accompanied by a certificate of photographic authenticity in accordance with the law.

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