Alessandro Magnasco


Alessandro Magnasco , also known as il Lissandrino, was an Italian late-Baroque painter active mostly in Milan and Genoa. He is best known for stylized, fantastic, often phantasmagoric genre or landscape scenes. Magnasco's distinctive style is characterized by fragmented forms rendered with swift brushstrokes and darting flashes of light.

Life

Born in Genoa to a minor artist, Stefano Magnasco, he apprenticed with Valerio Castello, and finally with Filippo Abbiati in Milan. Except for 1703–09 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.

Mature style

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". 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. Magnasco also found contemporary patronage for his work among prominent families and collectors of Milan, for example the Arese and Casnedi families. 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 masters followed." 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.

Origins of his style

The influences on his work are obscure. Some suspect the influence of the loose painterly style of his Venetian contemporary Sebastiano Ricci, the Genoese Domenico Piola 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 in the emotional quality of his work. Some of his canvases recall Salvatore 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 Lorraine'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.

Legacy

Magnasco's work may have influenced Marco Ricci, Giuseppe Bazzani, Francesco Maffei, and the famed painters de tocco Gianantonio and Francesco Guardi in Venice.
His depictions of torture in The Inquisition are an atypical subject for Italian baroque paintings, as were his depictions of the religious ceremonies of Jews and Quakers. Yet it remains unsolved, according to Wittkower, "how much quietism or criticism or farce went into the making of his pictures".

Selected works

PaintingDatesSiteLink-
Gathering of Quakers1695Uffizi, Florence--
Theodosius Repulsed from Church by St. Ambrose1700-10Art Institute of Chicago-
Christ and Samaritan Woman1705-10Getty Museum, Los Angeles-
Noli Me Tangere1705-10ibid-
The Hunting Scene1710Wadsworth Atheneum-
Muletrain and Castle1710Louvre-
Bacchanalian Scene1710sHermitage Museum-
Halt of the Brigands1710sibid
Landscape with Washerwomen1710-20University of Michigan Museum of Art
The Inquisition or Interrogations in a Jail1710-20Kunsthistorisches Museum-
The Temptation of Saint Anthony1710-20Louvre-
Landscape with Shepherdsc. 1710-30São Paulo Museum of Art, São Paulo-
Pulcinella singing with Family and Lute Player1710-35Columbia Museum of Art, South Carolina-
Three Camaldolite Monks at Prayer1713-14Rijksmuseum-
Three Capuchin Friars Meditating in their Hermitage1713-14ibid-
Christ Adored by Two Nunsc. 1715Accademia-
The Sack of a City1719-25Brukenthal National Museum, Abbey of Seitenstetten, Sibiu-
Satire of Nobleman in Misery1719-25Detroit Institute of Arts-
Bacchanale1720-30The Getty Center in Los Angeles-
Triumph of Venus1720-30ibid-
Interior with Monks1725Norton Simon Museum-
Gamblers, Soldiers and Vagabonds1720-30Staatsgalerie Stuttgart-
Supper of Pulcinella & Colombina1725-30North Carolina Museum of Art, Raleigh-
The Synagogue1725-30Cleveland Museum of Art-
Consecration of a Franciscan Friarc. 1730El Paso Museum of Art, Texas
Burial of a Franciscan Friarc. 1730El Paso Museum of Art-
Sacrilegious Robbery1731intended for church of Siziano, now in Quadreria Arcivescovile, Milan-
Exorcism of the Wavesafter 1735Memorial Art Gallery, Rochester, New York-
Landscape with Travelers1735-1740New Orleans Museum of Art-
The Observant Friars in the Refectory1736-37Museo Civico di Bassano del Grappa-
Figures Before a Stormy Seaca. 1740Honolulu Museum of Art-
The Entrance to a HospitalMuzeul des Arta, Bucharest-
Landscape with Camaldolese friars
Museo Giannetino Luxora, Genoa		-
The Marriage BanquetLouvre-
Praying MonksMuseum voor Schone Kunsten, Ghent-
Reception in a GardenPalazzo Bianco, Genoa-
SeashoreHermitage Museum-
Supper at EmmausConvent S. Francesco in Albaro, Genoa-
The Tame MagpieMetropolitan Museum-
Two Hermits in ForestLouvre-
Untitled-