Alessandro Magnasco

The field of work recorded is painting. Subjects and genres recorded for the work are landscape. Places of work recorded in the authority are Genoa, Milan and Florence. Works named in the authority record are Landscape with Figures. Work by Alessandro Magnasco is recorded in the collections of Museum Boijmans Van Beuningen, Städel Museum, Minneapolis Institute of Art, Museo del Prado and The Nelson-Atkins Museum of Art.

• Name — Alessandro Magnasco • Born — 4 February 1667 • Died — 12 March 1749 • Field — Painting • Training — Valerio Castello, Filippo Abbiati • Movement — Baroque • Place of death — Genoa, Republic of Genoa • Birthplace — Genoa, Republic of Genoa

Born in Genoa to a minor artist, Stefano Magnasco, he apprenticed with Valerio Castello, and finally with Filippo Abbiati (1640–1715) in Milan. Except for 1703–09 (or 1709–11)[2] when working in Florence for the Grand Duke Cosimo III, Magnasco labored in Milan until 1735, when he returned to his native Genoa. Magnasco often collaborated with placing figures in the landscapes of Tavella and the ruins of Clemente Spera in Milan.

• Illustration — Joseph Interpreting Dreams After 1710, Magnasco excelled in producing small, hypochromatic canvases with eerie and gloomy landscapes and ruins, or crowded interiors peopled with small, often lambent and cartoonishly elongated characters. The people in his paintings were often nearly liquefacted beggars dressed in tatters, rendered in flickering, nervous brushstrokes. Often they deal with unusual subjects such as synagogue services, Quaker meetings, robbers' gatherings, catastrophes, and interrogations by the Inquisition. His sentiments regarding these subjects are generally unclear. A century later he would be described as a "romantic painter: who painted with candid touches, and ingenious expressiveness, little figures in Gothic churches; or in solitude, hermits and monks; or scoundrels assembled in town squares; soldiers in barracks".[3] The art historian and critic Luigi Lanzi described him as the Cerquozzi of his school; thereby signaling him into the circle of followers of the Bamboccianti. He indicates that Magnasco had "figures scarcely more than a span large... painted with humor and delight", but not as if this effect had been the intention of the painter. Lanzi says these eccentric pieces were favored by the Grand Duke Giovanni Gastone Medici of Florence.[4] Magnasco also found contemporary patronage for his work among prominent families and collectors of Milan, for example the Arese and Casnedi families.[5] This series of patrons underscores the fact that Magnasco was more esteemed by outsiders than by his fellow Genoese; as Lanzi noted, "his bold touch, though joined to a noble conception and to correct drawing, did not attract in Genoa, because it is far removed from the finish and union of tints which (Genoese) masters followed."[6] In the twentieth century, Rudolf Wittkower derided him as "solitary, tense, strange, mystic, ecstatic, grotesque, and out of touch with the triumphal course of the Venetian school" from 1710 onward.

• Illustration — Hermit in the Desert The influences on his work are obscure. Some suspect the influence of the loose painterly style of his Venetian contemporary Sebastiano Ricci (1659–1734), the Genoese Domenico Piola (1627–1703) and Gregorio de Ferrari, although the most prominent of the three, Ricci, painted in a more monumental and mythic style, and these artists may in fact have been influenced by Magnasco. Magnasco was likely influenced by Milanese il Morazzone (1573–1626) in the emotional quality of his work. Some of his canvases (see ill. (q.)) recall Salvator Rosa's romantic sea-lashed landscapes, and his affinity for paintings of brigands. The diminutive scale of Magnasco's figures relative to the landscape is comparable to Claude Lorrain's more airy depictions. While his use of figures of ragged beggars has been compared with Giuseppe Maria Crespi's genre style, Crespi's figures are larger, more distinct, and individual, and it is possible that Crespi himself may have influenced Magnasco. Others point to the influences of late Baroque Italian genre painters, the Roman Bamboccianti, and in his exotic scenography, the well-disseminated engravings of the Frenchman Callot.

• Illustration — The Tame Magpie (1707–08) Metropolitan Museum of Art • Illustration — Interrogations in Jail (c. 1710) Kunsthistorisches Museum • Illustration — Banditti at Rest (with Clemente Spera) (c. 1710) Hermitage Museum • Illustration — Garden Party in Albaro Strada Nuova Museums Genoa • Illustration — Gypsy Wedding Banquet (1730–35) Louvre • Illustration — Dissipation and Ignorance destroy the Arts and Sciences (1735–1740) private collection • Illustration — Nuns Musée des Beaux-Arts de Strasbourg • Illustration — Rest of the Comedians (1730s), Odesa Museum of Western and Eastern Art • Illustration — Jewish Funeral, oil on canvas, 87 x 117 cm, Musée d'Art et d'Histoire du Judaïsme • Illustration — Christ at the Sea of Galilee (c. 1740) National Gallery of Art Washington DC • Illustration — The Exorcism of the Waves (c. 1735), Memorial Art Gallery Rochester NY • Illustration — Christ attended by the Angels. C. 1705. Prado Museum. Madrid. Magnasco and Peruzzini. • Illustration — The painter's workshop. c. 1720. Real Academia de Bellas Artes de San Fernando. Madrid. • Painting — Dates — Site — Link • Gathering of Quakers — 1695 — Uffizi, Florence • Theodosius Repulsed from Church by St. Ambrose — 1700-10 — Art Institute of Chicago • Christ attended by angels — c. 1705 — Museo del Prado, Madrid — • Christ and Samaritan Woman — 1705-10 — Getty Museum, Los Angeles — • Noli Me Tangere — 1705-10 — ibid — • The Hunting Scene — 1710 — Wadsworth Atheneum • Muletrain and Castle — 1710 — Louvre — • Bacchanalian Scene — 1710s — Hermitage Museum — • Halt of the Brigands — 1710s — ibid — • Landscape with Washerwomen — 1710-20 — University of Michigan Museum of Art — • The Inquisition or Interrogations in a Jail — 1710-20 — Kunsthistorisches Museum — • The Temptation of Saint Anthony — 1710-20 — Louvre — • Landscape with Shepherds — c. 1710-30 — São Paulo Museum of Art, São Paulo — • Pulcinella singing with Family and Lute Player — 1710-35 — Columbia Museum of Art, South Carolina — • Three Camaldolite Monks at Prayer — 1713-14 — Rijksmuseum — • Three Capuchin Friars Meditating in their Hermitage — 1713-14 — ibid — • Christ Adored by Two Nuns — c. 1715 — Accademia — • The Sack of a City — 1719-25 — Brukenthal National Museum, Abbey of Seitenstetten, Sibiu • Satire of Nobleman in Misery — 1719-25 — Detroit Institute of Arts — • The painter's workshop — c. 1720 — Real Academia de Bellas Artes de San Fernando, Madrid — • Bacchanale — 1720-30 — The Getty Center in Los Angeles — • Triumph of Venus — 1720-30 — ibid — • Interior with Monks — 1725 — Norton Simon Museum — • Gamblers, Soldiers and Vagabonds — 1720-30 — Staatsgalerie Stuttgart — • Supper of Pulcinella & Colombina — 1725-30 — North Carolina Museum of Art, Raleigh — • The Synagogue — 1725-30 — Cleveland Museum of Art • Consecration of a Franciscan Friar — c. 1730 — El Paso Museum of Art, Texas — • Burial of a Franciscan Friar — c. 1730 — El Paso Museum of Art — • Monks chapter — 1730-1740 — Real Academia de Bellas Artes de San Fernando, Madrid — • Sacrilegious Robbery — 1731 — intended for church of Siziano, now in Quadreria Arcivescovile, Milan — • Exorcism of the Waves — after 1735 — Memorial Art Gallery, Rochester, New York — • Landscape with Travelers — 1735-1740 — New Orleans Museum of Art • The Observant Friars in the Refectory — 1736-37 — Museo Civico di Bassano del Grappa — • Figures Before a Stormy Sea — ca. 1740 — Honolulu Museum of Art • The Entrance to a Hospital — Muzeul des Arta, Bucharest • Landscape with Camaldolese friars — Museo Giannetino Luxora, Genoa — • The Marriage Banquet — Louvre • Praying Monks — Museum voor Schone Kunsten, Ghent — • Reception in a Garden — Palazzo Bianco, Genoa • Seashore — Hermitage Museum — • Supper at Emmaus — Convent S. Francesco in Albaro, Genoa • The Tame Magpie — Metropolitan Museum — • Two Hermits in Forest — Louvre — • A Hermit in the Desert — Lázaro Galdiano Museum, Madrid — • Untitled — • Rest of the Comedians — 1730s — Odesa Museum of Western and Eastern Art

The Temptation of St. Recognition and collections.