Emilian school, 18th century

Emilian school, 18th century

Pair of live natures with birds

Oil on canvas, 28 x 30 cm

With frame, 37 x 38.5 cm

The Northern Italian pictorial school developed, as early as the 16th century, a particular predilection for a naturamortism that investigated with vividness and virtuosity the subjects traditionally established in the drawing repertoire; living natures of animals thus presented, preferentially, creatures of the undergrowth, courtyard and pastoral. The tactile workmanship of the pictorial material had encouraged an ever-increasing predilection for alignment with the trends then coming from the Flemish countries; these characteristics are found in the present pair of live natures with birds, produced in the Emilian context in the first decades of the 18th century. In this beautiful pair of animal paintings, a contingent of small birds is presented according to paradigms of vivid realism. The figures, rendered through rapid brushstrokes, are characterized by a marked dynamism, further emphasized by accentuated luminous touches. The works present similarities with the main proponents of the living nature genre between Lombardy and Emilia-Romagna in the first half of the eighteenth century, Angelo Maria Crivelli known as Crivellone, Giovanni Crivelli, his son, and Giorgio Duranti. Angelo Maria Crivelli, better known as Crivellone, and his son Giovanni Crivelli, known as Crivellino, were two significant figures in the Lombard artistic panorama between the 17th and 18th centuries, distinguishing themselves in particular for their skill in painting animals and scenes of hunting. Angelo Maria Crivelli (circa 1660 – after 1730) was the progenitor of this artistic dynasty. Influenced by artists such as the Flemish Rubens and Snyders and the Neapolitan Ruoppolo, he learned the liveliness and naturalism typical of animalist painting of the time. His production is characterized by the expressive strength and detailed rendering of animal figures, often inserted into vibrant landscapes. He was highly appreciated for his ability to capture the wild essence and vitality of animals, making him a painter much sought after by the courts and aristocracy of his time, eager to decorate their residences with hunting scenes and subjects related to nature. Giovanni Crivelli (1691 – 1749) followed in his father's footsteps, inheriting and developing his style. The nickname "il Crivellino" suggests continuity, but also a possible stylistic distinction, perhaps more minute or refined than his father. He continued the family tradition in animal painting, hunting and still lifes, often in collaboration with other artists for the creation of human figures or landscapes. His work fits fully into the late Baroque and Rococo taste, with a predilection for more airy compositions and lighter colors compared to his father's darker and more dramatic palette. 

Giorgio Duranti (Brescia, 1683 – Palazzolo sull'Oglio, 1768) was an Italian painter, active in the Baroque period, known mainly for his still lifes and, in particular, for animal painting. Duranti specialized in the representation of birds of all species, often depicting them alive and outdoors, with particular attention to the relationship between staticity and movement. His works, often characterized by stormy backdrops, show considerable expressive power and a detailed rendering of animal figures, so much so that he was a master of 18th century animalist painting. Many of his works, especially still lifes of flowers, were donated to the church of Palazzolo sull'Oglio and some were sold to the Spanish royal court. His artistic production, largely preserved in Brescia and its province,also including collaborations with other artists for the creation of landscapes or human figures in his compositions.

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