Important Baroque painting attributable to the hand of the great Roman master Giacinto Brandi or his workshop.
It depicts San Giovannino who, with an expression of rare beauty and intensity, turns his gaze toward us who observe this small masterpiece.
Period Second half of the tenth century
Dimensions
Height 100 cm
Width cm 80
Certificate of authenticity issued by Sabrina Egidi Expert of the Court and the C.C.I.A.A. of Rome.
This item comes from a private collection and is therefore unpublished on the market
Giacinto Brandi (Rome 1621 - 1691) was an Italian painter.
Born in Rome, in his father Giovanni's house on Via Giulia, he was baptized in the Basilica of San Giovanni Battista dei Fiorentini.
The art historian Bernardo De Dominici with a strongly parochial attitude wrote in Lives de pittori, scultori ed architetti napoletani non mai dato alla luce da autore alcuno dedicated agli eccellentissimi signori, eletti della fedelissima città di Napoli (Naples 1742-45) the false information that Brandi was born in Gaeta.
When Giacinto was four years old, the family moved near the Basilica of Sant'Andrea delle Fratte.
After waiting for his apprenticeship in the workshop of Alessandro Algardi, he moved in 1633 to that of Giovanni Giacomo Sementi (a pupil of Guido Reni), because his first master wanted to initiate him into sculpture, while he wanted to paint. He later worked at Giovanni Battista Magni and Giovanni Lanfrancosino to 1646.
After working in Naples, from 1638 he settled again in Rome, where in 1640 he married Maria Teresa Cagieri, a woman of French descent, and moved with her to Via della Croce, near Piazza di Spagna.
In 1637 he joined the Congregation of the Virtuosi at the Pantheon.
from 1651 he attended the Academy of Saint Luke, of which he was elected prince in 1668. He obtained a knighthood from Pope Innocent X and was entrusted with important works, including the cycle of frescoes in the Palazzo Pamphilj in Piazza Navona, thanks to the support of Monsignor Francesco Sacchetti, canon of the Basilica of Santa Maria Maggiore and secret chamberlain to the Pontiff, who was very close to Giacinto's brother, Abbot Pietro Paolo Brandi.
His painting activity can be seen in the frescoes and paintings found in many Baroque churches, such as the oil-on-wall pictorial cycle of the vault and walls (1662-3) and the altarpiece (1664) of the succorpo di Sant'Erasmo in Gaeta Cathedral.
The vast majority of his paintings are found in Rome: the frescoes of the vault (1671-78) of the Basilica of Saints Ambrose and Charles on the Corso, the frescoes of the vault and counter-façade (1683-84) in the Church of San Silvestro in Capite, the Martyrdom of St. Blaise in the Church of San Carlo ai Catinari, the decoration of the Church of Jesus and Mary with the altarpiece Coronation of the Virgin (1680); the Martyrdom of St. Andrew (1685) in the Basilica of Santa Maria in Via Lata; the Martyrdom of St. Frederick (1651) in the Basilica of Santa Maria in Trastevere; St. Margaret defeats the devil (1683-85) in the Church of Santa Margherita in Trastevere; the Trinity with Blessed Bernardo Tolomei (1665-70) in the Basilica of Santa Francesca Romana; the Holy Forty Martyrs of Sebaste (1662) in the Church of the Most Holy Stigmata of St. Francis, the Vision of Blessed John of St. Facondo (1656) and Ecstasy of Blessed Rita of Cascia (1660) in the Basilica of St. Augustine in Campo Marzio, St. Roch intercedes for the plague victims (1673) and St. Roch in Glory(1674) in the Church of St. Roch at the Augusteum; Lamentation over the Dead Christ (1675-76), The Ascent to Calvary and The Flagellation of Christ in the Church of Sant'Andrea al Quirinale. The cycle of frescoes visible in the Pamphilj Palace in Piazza Navona is also valuable. In the Baroque church of San Rocco in Parma is a valuable painting of the Circumcision of Jesus painted in oil.
The painting comes with a beautiful gilded wooden frame
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