North-central Italy, 18th century

North-central Italy, 18th century

Pair of inlays

(2) Various wood species, roots, cm 25 x 38,5

Frame, cm 25 x 38

These two 18th century sculptures, made through a series of polychrome inlays of different woods, are very rare and meticulously executed. In fact, the artist here industrious, cabinetmaker and painter at the same time, applies on the table of fir a series of slabs and roots of different wood essences: you can recognize woods such as apple, pear, walnut, maple and cherry. The use of pyrography, that is to say the engraving by means of a tip of iron burned wood surface, allows to define the lines that characterize the different scores of the composition, Characterized by the drawing of colors played on different shades of brown and blue.

One of the two inlays depicts a scene of coastal landscape with busy figures in merchant activities: some follow the transport of goods on boats with sails deployed, while others are occupied on land, in the foreground. The silhouette of the tree on the right, the rocky spur in the center and the tower on the left, at the entrance to the inlet, help define the sense of depth of the landscape, concluded in the background by the blue contours of the mountains, Chromatically linked to the colours of the sea and sky, crossed by birds in flight. The figures, dynamic and synthetic in their movements and their somatic and costumistic characterizations, characterize both scenes, animating the setting: one more landscaping, the other more architectural. The second tarsia in fact presents numerous civil, religious and military buildings, analytically described in their different structural typologies. They, besides exemplifying the virtuosic prospective abilities of the artist here hard-working, provide an interesting testimony of the eighteenth century architecture: the buildings, porticoes, towers, lead back to that era of commercial contacts and military concerns, as can be seen from the sentry’s watch on the spiral path around the tower with the bell on top. The type of production, the figurative language and the use of the abbot in the background all refer to the environment of the centre-north of Italy in the second half of the eighteenth century, probably in an area in contact with the culture and tradition of Veneto.

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