Saint Michael the Archangel Chasing Away the Rebel Angels (probably preparatory sketch)

St. Michael the Archangel banishes the rebel angels from heaven
(probably preparatory sketch)

Roman school of the 17th/18th century

Oil on canvas (99 x 73 cm. – In frame 119 x 94 cm.)

Full details of the painting (click HERE)

The subject of this fascinating canvas is taken from the Last Judgement, an extremely rare subject that has always been particularly popular in painting, as it allowed for the exploration of contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by a sumptuous theatricality.

In particular, here we see the expulsion of the rebel angels, by Saint Michael the Fighter: the Archangel is depicted in his armour and with outstretched wings, forcefully striking the damned, who gradually transform into demons during their fall into hell.

The Archangel Michael dominates the scene, bathed in divine light and surrounded by celestial clouds symbolizing the separation between the heavenly realm and hell. Beneath him, a tangle of naked bodies tumbles, arranged in various positions as they fall: they writhe, collide, overlap, trying to find their place in the river of flesh flowing from above. Some of them fall on their backs, others with their heads down, still others have reached the underworld, coiled by the infernal serpents and taking on the appearance of demons.

Baroque painting loved this type of subject, with religious scenes characterized by great emotional tension, treated with great pathos and immediacy, and to achieve drama, the artists used powerful contrasts of light and shadow (chiaroscuro), diagonal compositions and swirling lines, which immersed the viewer in a theatrical and engaging visual experience.

This painting is not just a work of art, but a manifesto of the struggle between good and evil, a recurring theme in the history of art that continues to inspire artists and enthusiasts.

The fascinating canvas follows a descriptive structure that makes it recognizable as a precious preparatory sketch, a study for a larger altarpiece, or even more likely for a more complex fresco; this would therefore suggest that the final work was intended to decorate the main bay of a private chapel.

This is a work that reflects the characteristics of the Roman school between the seventeenth and eighteenth centuries: the colours are warm and bright, the chromatic range is clear and soft, the quick but precise brushstrokes are typical elements of this period, with strong influences from the Flemish authors who populated the papal city;

The rendering of the drapery and the musculature of the bodies are typical characteristics of Flemish art of this period, a sign of the expert hand of a highly skilled painter, although it is difficult to identify the author with precision but it is heir to the illustrative models typical of this period, influenced by the Mannerist tradition of authors such as Cavalier d'Arpino, Andrea Commodi or Scipione Compagno, who tackled this subject on numerous occasions.

Very interesting, and certainly an object of inspiration for our author, is the famous engraving by Philippe Thomassin (1562-1622) which represents the battle between the archangel Michael and the demons, taken from a pictorial work by Giovanni Battista Ricci (1537-1627), in which we seem to see details of our painting.
https://www.britishmuseum.org/collection/object/P_1860-1110-249

Conservation status: the painting is in good condition with some restorations and restoration of the pictorial material on the surface.

ADDITIONAL INFORMATION:

The work is sold complete with an antique frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

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