ID: 5443
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Crescenzio Onofri (1634–1714), Circle of - Paesaggio con Riposo durante la Fuga in Egitto
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Description
Ancient painting, oil on canvas, dating from the late 17th to the early 18th century, depicting Landscape with Rest during the Flight into Egypt.
The canvas depicts the Rest during the Flight into Egypt set in a wide and intricate Arcadian-style landscape, dominated by classical ruins, tall trees, and distant mountains sloping toward the horizon. The Holy Family, accompanied by angels, is placed in the foreground on the left, following a compositional formula typical of Roman landscape painting from the late 17th to the early 18th century, in which the sacred subject is harmoniously integrated into an idealized naturalistic vision.
The sky, built of soft overlaps of blues and pearly grays, shows a refined atmospheric sensitivity, with solid but light clouds, well calibrated in space. The distant mountains are rendered with great control of perspective, while the ancient architectures — particularly the cylindrical tower and the ruins in the foreground — are treated with a confident sense of volume and light, elements that recall the Roman landscape tradition of the height of the Baroque era.
The vegetation, laid out for compact masses and subtle chromatic vibrations, reveals an expert hand, updated on the models of the classicist Roman-Flemish landscape. In this stylistic context the work shows strong affinities with the milieu of Crescenzio Onofri, a painter active between Rome and Florence, known for the balance between scenographic monumentality, the handling of light, and attention to atmospheric rendering.
Of particular note is the quality of the figures. The Virgin with the Child stands out for the softness of the modelling, the delicacy of the flesh tones, and the naturalness of the gestures, traceable to a solid Roman figurative culture of the Marattian milieu. Also Saint Joseph presents a well-constructed countenance and a dignified and measured rendering. The putti are executed with notable anatomical security and expressive vivacity; particularly significant is the refined still-life passage with fruits that they bear in their hands, painted with material and luminous attention, an index of an expert and autonomous hand.
The slight differences in emphasis among the various figures plausibly suggest a collaboration between the landscape painter and the figure painter, a practice common in late seventeenth- and early eighteenth-century Rome, especially in works intended for an educated clientele. Such collaboration helps to enhance the interest and the overall quality of the painting.
In light of stylistic, technical, and qualitative considerations, the painting can be prudently attributed to the circle of Crescenzio Onofri, with probable involvement of a capable Roman figure painter from a Marattean milieu, and chronologically placed between the late seventeenth and the early eighteenth centuries.
The painting presents itself in good overall condition, with a uniform surface that is fully legible. There are a few scattered restoration spots, as well as visible underlayers and fine cracking of the painted surface, all limited in extent and not at all compromising the legibility of the depiction. The craquelure is homogeneous and attributable to the period, with no signs of active flaking. No conservation-related problems are evident. The original canvas presents a lining in good condition that ensures proper support and tension. The wooden frame appears to have been replaced at the time of the lining. Overall the work is structurally solid, aesthetically pleasing, and well preserved, while retaining the natural signs of aging that attest to its authenticity and conservation history.
The painting is accompanied by a frame of classical taste, but of relatively recent vintage, which harmonizes with the composition and enhances its overall staging. Defects and shortcomings are noted. The frame itself is included as a courtesy and does not constitute an integral part of the artwork; any damage to it will not be grounds for complaint or for canceling the order.
Dimensions of the painting: 72 x 80 cm - Dimensions of the frame: 86 x 95 cm
Opera accompanied by a certificate of authenticity with photographic evidence, in accordance with current legal regulations.
The canvas depicts the Rest during the Flight into Egypt set in a wide and intricate Arcadian-style landscape, dominated by classical ruins, tall trees, and distant mountains sloping toward the horizon. The Holy Family, accompanied by angels, is placed in the foreground on the left, following a compositional formula typical of Roman landscape painting from the late 17th to the early 18th century, in which the sacred subject is harmoniously integrated into an idealized naturalistic vision.
The sky, built of soft overlaps of blues and pearly grays, shows a refined atmospheric sensitivity, with solid but light clouds, well calibrated in space. The distant mountains are rendered with great control of perspective, while the ancient architectures — particularly the cylindrical tower and the ruins in the foreground — are treated with a confident sense of volume and light, elements that recall the Roman landscape tradition of the height of the Baroque era.
The vegetation, laid out for compact masses and subtle chromatic vibrations, reveals an expert hand, updated on the models of the classicist Roman-Flemish landscape. In this stylistic context the work shows strong affinities with the milieu of Crescenzio Onofri, a painter active between Rome and Florence, known for the balance between scenographic monumentality, the handling of light, and attention to atmospheric rendering.
Of particular note is the quality of the figures. The Virgin with the Child stands out for the softness of the modelling, the delicacy of the flesh tones, and the naturalness of the gestures, traceable to a solid Roman figurative culture of the Marattian milieu. Also Saint Joseph presents a well-constructed countenance and a dignified and measured rendering. The putti are executed with notable anatomical security and expressive vivacity; particularly significant is the refined still-life passage with fruits that they bear in their hands, painted with material and luminous attention, an index of an expert and autonomous hand.
The slight differences in emphasis among the various figures plausibly suggest a collaboration between the landscape painter and the figure painter, a practice common in late seventeenth- and early eighteenth-century Rome, especially in works intended for an educated clientele. Such collaboration helps to enhance the interest and the overall quality of the painting.
In light of stylistic, technical, and qualitative considerations, the painting can be prudently attributed to the circle of Crescenzio Onofri, with probable involvement of a capable Roman figure painter from a Marattean milieu, and chronologically placed between the late seventeenth and the early eighteenth centuries.
The painting presents itself in good overall condition, with a uniform surface that is fully legible. There are a few scattered restoration spots, as well as visible underlayers and fine cracking of the painted surface, all limited in extent and not at all compromising the legibility of the depiction. The craquelure is homogeneous and attributable to the period, with no signs of active flaking. No conservation-related problems are evident. The original canvas presents a lining in good condition that ensures proper support and tension. The wooden frame appears to have been replaced at the time of the lining. Overall the work is structurally solid, aesthetically pleasing, and well preserved, while retaining the natural signs of aging that attest to its authenticity and conservation history.
The painting is accompanied by a frame of classical taste, but of relatively recent vintage, which harmonizes with the composition and enhances its overall staging. Defects and shortcomings are noted. The frame itself is included as a courtesy and does not constitute an integral part of the artwork; any damage to it will not be grounds for complaint or for canceling the order.
Dimensions of the painting: 72 x 80 cm - Dimensions of the frame: 86 x 95 cm
Opera accompanied by a certificate of authenticity with photographic evidence, in accordance with current legal regulations.