Giacomo Francesco Cipper, known as Todeschini (Feldkirch, 1664 - Milan, 1736)

Giacomo Francesco Cipper, known as Todeschini (Feldkirch, 1664 - Milan, 1736)

Scene with fishermen 

Oil on canvas, 130 x 175 cm

The work, an oil on canvas of considerable size, is a painting by Giacomo Francesco Cipper, called the Todeschini, and depicts a young woman who spills from a large wicker basket the catch of the day and in the meantime approaches an eel to a cat, stealthily perched on wooden planks waiting to grab a prey.  Sitting on the ground and on his back is another young man, who rotates his head and looks towards the spectator pointing at the scene. 

Todeschini was born in Feldrik in 1664 but settled in Milan where he died in 1736, Unknown are the information about his pictorial training but certain are his artistic influences: you can find debts to Eberhard Keilhau (1624-1687) Born in Denmark but active between 1654 and 1656 in Milan, painter who devotes himself to scenes of everyday life of humble people. The assonances between the Cipper and Kailhau are therefore to be found in the subject but also in the compositional expedients, which often provide for the placement of the characters sitting in the foreground or occupying the entire canvas, leaving less emphasis to the background that is often solved as an undefined space or, as in the case under consideration, in small landscape views. 

Todeschini’s main objective is to render with lucid pragmatism the beauty of concrete life, which is justified in a plastic and material formalism, dominated by earthy and bright warm tones, illuminating in their lively optimistic return of life. The choice of subjects such as farmers, tombolatrici, pitocchi and sellers of various merchandise, allowed Cipper to reflect on the seventeenth-century tradition inaugurated by bamboccianti and to reread in a personal way the examples of Monsù Bernardo and Alessandro Magnasco, with the ambition to transpose the ideas of these in a 'monumental' plant. 

The Austrian births and the adoption of the Lombard artist encouraged contact with the coeval lesson of the aforementioned Bernard Keilhau, called Monsù Bernardo, as well as to collect suggestions of the previous Alessandro Allori (1535-1607) and Onofrio Gabrielli (1619-1706) with Pasquale de Rossi (1641-1722). In 1696 Todeschini appears for the sources already resident in Milan, from which he left to subsequently reach the cities of Bergamo and Brescia, where he was active. 

Many within the corpus of works of Todeschini are therefore representations similar to the one presented there, which collect both scenes of daily life involving different characters and sometimes even animals and essays of still life of fish, game or fruit and vegetables described with lucid naturalism. See in this regard the bewilderment of the fish in the painting in question, described in detail and well rendered especially in the brightness of the scales. Paintings by Todeschini similar to the one under consideration are found in Sellers of fish at the Palace Museum in Wilanów; Market scene in the Private Collection shows the ability of Todeschini in choral representations even full-length but it is the gesture to overturn the fish from the basket to remember the painting under examination. But it is in portaolo and still life of fishes that one can observe how Todeschini inserts in his works quotes from his other paintings. In fact, in the canvas of the private collection we observe a figure of a young man who looks at the viewer and points at the carrier and fishmonger in the center of the composition. Also an animal appears here, this time not a cat but a dog, but above all it is the context to resemble: in fact, to the right of both the canvas under consideration and in Portarolo and still life of fish opens a glimpse of the rippling sea of waves covered by a thick sky of clouds. 

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