Important portrait of nobleman in three -quarter parade dresses with flower in the hands of the end of the 1600s.
Work attributable for quality, era and style to the great portraitist of Genoese origin Giovanni Maria delle Piane known as Il Mularetto.
The flower in hand is certainly an allegorical allusion; It could be the portrait of a nobleman about to get married offered as a wedding gift to the bride's family.
Oil technique on canvas
Second half century period tenth seventh
Each object of our gallery on request is sold accompanied by a certificate of authenticity issued by Sabrina Egidi expert of the Court and of the C.C.I.A.A. from Rome.
This article comes from a private collection and is therefore unpublished on the market
The painting is accompanied by a beautiful frame completely in golden golden golden wood Coeva Louis XV
Giovanni Maria delle Piane, known as Il Mularetto (Genoa, 1660 - Monticelli d'Angina, 28 June 1745) was an Italian painter.
Portraitista active mostly in Genoa and Parma, he became the primary court of the court of the Farnese and Bourbons in the late Baroque period.
It belonged to the noble Genoese house of the Piane.
He was born in Genoa, where he made the apprenticeship at the workshop of Giovanni Battista Merano; In 1676 he moved to Rome, where, working closely with the Baciccio, he revealed a great aptitude for the portrait. Instructed in Rome with another Genoese, Giuseppe Paravagna.
Returning to Genoa in May 1684, a year after the death of G. B. Carbone, heir of the Genoese portraiture tradition of the first half of the seventeenth century, became the most requested portraitist from the local nobility, of which he was able to indulge in the autocelebradia slors: among his first ones Portraits were that of Gian Battista Cattaneo with his wife Maddalena Gentile and one of the daughters, and that of the doge Pietro Durazzo, preserved in the National Gallery of Palazzo Spinola.
The stylistic innovation introduced by the Mularetto in the Genoese painting of the time manifested itself during the last decade of the seventeenth century when, after assimilating the new fashion of the French portrait, on the genre of the Rigaud and Largillière, he performed portraits for the Doria and home house Durazzo, characterized by the refinement of details and the worldliness of the figures.
In 1675, at the invitation of Count Morando, he went to Parma. There he met the favor of the Farnese, for whom he portrayed the Duke, Duchess and Princess Elizabeth.
In 1705 Cardinal G. Alberoni, sent by Duke Francesco, commissioned the artist, who seems to reside at that moment in Piacenza, to portray the Duke of Vendôme, commander of the Franco-Spanish troops.
Over the first decades of the eighteenth century of the plains, it was gradually developing a more personal language, in which greater attention to real and thinly ironic accents merge. In 1706, he painted other portraits of Elisabetta Farnese, the future bride of Filippo V of Spain, in Parma.
Court painter in 1709, he painted more portraits for the Dukes of Parma and also Antonio Farnese on horseback. In 1737 he became the painter of King Charles III of Spain, son of Elisabetta Farnese; Leaving Naples, in 1741 he returned to Genoa, staying there until 1744.
Having retired to Monticelli d'Agina, in the province of Piacenza, he died there the following year. His son Andrea was also a portrait painter and died in 1759.
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