View of classical architectural ruins with the philosopher Pythagoras returning from Hades, Giovani Ghisolfi (Milan 1623-1683), attributed/workshop

Giovani Ghisolfi (Milan 1623-1683), attributed/workshop
View of classical architectural ruins with the philosopher Pythagoras pretending to return from Hades

Oil on canvas, cm. 70 x 84
In frame cm. 86 x 100

Complete details of the work: https://www.antichitacastelbarco.it/it/lavoro/giovani-ghisolfi–milano-1623—1683—attivito-bottega

The painting in question, depicting an architectural view with classical ruins, can be traced back to the work of the Milanese painter Giovanni Ghisolfi and takes up the work that the painter created for the renowned collection of Cardinal Pietro Ottoboni, great-grandson of Pope Alexander VIII, who then passed to Roman Almagià collection (http://catalogo.fondazionezeri.unibo.it/scheda/opera/54064/Ghisolfi%20Giovanni%2C%20Pitagora%20rieme…).
In the left area you can see the ruins of an ancient temple, which evoke that of Saturn in the Roman Forum, while the animated scene in the foreground is a fascinating representation of the Greek philosopher Pythagoras as he emerges from the cave he built himself, where he decided to retreat to meditate and study philosophy, then telling his followers who were awaiting his return that he had reached Hades and was therefore resurrected.
The scenario is flooded with a dark light to evoke the late evening, where the rays that stand out on the pillars and boulders have an evocative, metaphysical effect, and with the clouds on the horizon that give brighter colours.
The painting constitutes a good testimony of Ghisolfi's classicist 'ruinism', and in particular of his mature phase, characterized by constructions orchestrated with measured and wise balance. This is the softer and freer pictorial style of the painter of Lombard origins, which owes much to the influence of Salvator Rosa, with whom he was a close friend during his stay in Rome in the 1650s.
Ghisolfi was a forerunner compared to many artists of the following century who drew fruitful ideas from this last phase of the Milanese-born but Roman-by-adoption master. It was in the papal city that he developed his education in these particular iconographies, based on ancient Roman remains, and thanks to which he became the most successful specialist in this genre.
Upon examination of Wood's lamp, slight restoration work is highlighted, but overall the state of conservation is excellent.

Painting complete with certificate of authenticity in accordance with the law.
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