First half of the 18th century, Lombardy

First half of the 18th century, Lombardy

Putti

(2) Gilded wood, H 88 cm

The work is distinguished by the high artistic quality and the remarkable executive care, as evidenced by the thin drapery formed by a single band that surrounds the bodies and hair curls and puffy. Starting from these presuppositions, which recall a typical eighteenth-century technique, these tender angels can be included in the list of Lombard plasticizers of the eighteenth century, in particular Brescia, if we consider their proximity to the works of Giovanni Battista Carboni (Brescia, 29 March 1729 - Brescia, 29 December 1790).

Not only sculptor but also art critic Giovanni Battista Carboni was born in Brescia in 1725, his father Rizzardo is plasticizer and plasterer but despite this he began his youth by training in the humanities in the school of the famous Rambaldini. 

Called home by his father, he wanted to study painting, but he was forced to join his father’s company and practice himself in stucco decoration and wood carving.

Of his activity as a sculptor, for what little we can understand from the remaining works, the Carboni turns out to be among the most interesting figures after the advent of Antonio Calegari; his soft modeled, loose and of great refinement and elegance is very close to that of the master. 

Of his activity in wood as a sculptor few certain works remain, in the list you can enter the Putti reggi torch of San Gaetano, very similar to the present. Of him as plasterer remain the angels of the side altars of the church of SS. Cosma and Damiano, who, although they take up the modules of Calegari, adding a personal note, especially in the witty expression.

He also modelled the group with the Assumption and the angels of the pediment of the Duomo Nuovo in Brescia, performed by Bergamo Possenti, and executed directly the two medallions of the evangelists S.Marco and S.Matteo placed in the plumes under the great dome of the Cathedral itself remarkable for grandeur and living pictorial sense.

Urged by the noble Luigi Chizzola to give a judgment of the Brescian painters and sculptors, he wrote if in 1759 (then published anonymous in 1760) a guide: The paintings and sculptures of Brescia that are exposed to the public with an appendix of some private galleries; a guide made according to criteria still valid today, one could say very modern, both for the setting both for the dictation and for the format and also for the purposes it aims. He is also the author of the "Histories of Brescian sculptors and architects", written in 1776 and preserved in the Archiginnasio Library.

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