Null ÉCOLE DES PEINTRES VOYAGEURS.
The Full Moon Dance in Rangoon.
Watercolor o…

Description

ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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Estim. 10 000 - 12 000 EUR

JOAQUÍN DOMÍNGUEZ BÉCQUER (Seville, 1817 - 1879). "Andalusian couple". Oil paintings on panels (x2). They have frames of the nineteenth century. Signed in the lower left area. Measurements: 63 x 47,5 cm (x2); 72 x 58,5 cm (frames, x2). Pair of oil paintings with the same theme and composition, indicating that they were originally conceived together. One of them presents a lady dressed in the fashion of the time, while the other presents a man following the regional fashion. The costumbrista theme is rooted in the romantic vision that, among other aspects, pays special attention to those traditional, popular or typical customs that reflect what is understood as the genuine way of being and living of the people of the village, their traditions and values, and does so, moreover, from a mythical and idealized perspective in which the popular classes, especially those of the rural environment, are always opposed to the model that personifies the growing city, which has grown in the heat of industrialization. This model of costumbrismo assumed in Romanticism survives for a long time in the European pictorial culture of the 19th century, since later Realism, although it sometimes introduces a more objective and dispassionate vision and focuses its attention on the hardness of work, continues to disseminate images of peasants and their tasks, rural customs, traditional trades, in short, much of what was feared to disappear in a few decades. Joaquín Domínguez Bécquer learned the first rudiments of the art of painting from his cousin José, the initiator of this outstanding dynasty of painters, and in turn was the teacher of his nephew Valeriano Bécquer, Gustavo Adolfo's brother. The young painter then entered the Santa Isabel School of Fine Arts in Seville, an institution of which, over the years, he would become a professor and director, as well as an academician since 1847. He was also a member of the Real Academia Sevillana de las Buenas Letras, one of the founders of the Liceo Artístico of his native city, and was commissioned by Isabel II to direct the pictorial works carried out on the occasion of the restoration of the Reales Alcázares of Seville. He was honorary chamber painter of the queen from 1850, as well as drawing teacher of his nephews. Maximum exponent of the Sevillian costumbrista painting, considered creator of the Sevillian romantic school, he also dedicated himself to portrait and history painting. His style, of great academic correctness derived from a deep knowledge of ancient Spanish painting, was characterized by the scenographic sense of his outdoor paintings, with a rich play of hallmarks that give depth to the works. The relevance of Domínguez Bécquer in the Seville of the mid-nineteenth century allowed him access to the select circle of friends of the Dukes of Montpensier, established in the city of Seville in 1848 and main patrons and promoters of the renewal of the local art scene. Especially, during these years genre painting experienced a great development, which spread the romantic myth of Spain with Andalusia as the absolute center of the exotic charm that foreign travelers were looking for in the Peninsula. Domínquez Bécquer participated in this Spanish costumbrismo on numerous occasions. Domínguez Bécquer is represented in the Prado Museum, the San Telmo Museum in San Sebastián, the Romantic Museum in Madrid, the Bonnat Museum in Bayonne, the Fine Arts Museums in Seville and Huelva, and the Thyssen-Bornemisza Museum, among others.

Estim. 10 000 - 12 000 EUR

Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding. Measurements: 100 x 126 cm; 110 x 136 cm (frame). Painting of Italian school and Baroque period attributed to Viviano Codazzi. The pictorial quality and the theme of the ruins sublimated by means of architectural fantasies leads the experts to deduce the authorship of this great Italian painter. Under a sky covered with wind-laden clouds, a ruinous architecture that condenses attributes of different Greco-Roman temples, of which only the memory and the annotation of some traveler remained, is cut out imposingly. The tall Corinthian columns are eaten away by age and the scars of war. The statues have lost their heads or limbs, and moss grows in every crevice. The lives of the human groups scattered between the lagoon and the porticoes are relaxed. Their clothing is typical of the period to which the painter belongs. The quality of the backlighting and the right chromatic ranges that enhance the architectural beauty and its mystery stand out. Italian Baroque painter born in Valdassina, near Bergamo, Viviano Codazzi specialized in the painting of architecture, covering various genres such as the "quadratura" (decorative genre derived from trompe l'oeil), the painting of ruins or the "capricci", although he also painted several "vedute". He is in fact recognized today as one of the first painters of "vedute", both in its fantastic and realistic aspects, and in fact his work will exert a notable influence on Canaletto and Bernardo Bellotto. He developed a personal language that, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with lighting to obtain typically baroque expressive effects, which enhance the appearance of the ancient-looking buildings, populated by small popular characters. Codazzi grew up in Rome, where his family moved to in 1605, and as an adult he settled in Naples around 1633. There he trained as a disciple of Cosimo Fanzago, and his style matured, focusing on architectural painting. In Naples he worked on commissions such as those for the Certosa di San Martino, obtained through Cosimo Fanzago, also born in Bergamo. His major project in Naples was a series of four large canvases depicting scenes from Ancient Rome for the Buen Retiro Palace in Madrid, including one depicting gladiatorial combat in the Colosseum. Since he was a painter who specialized in architectural painting, the figures in this series were made by Domenico Gargiulo. In fact, this type of collaboration would be a constant in his career. Gargiulo was his main collaborator in Naples, but after returning to Rome following the Masaniello revolt in 1647, Codazzi will work with the Bamboccianti, mostly Dutch painters, and especially with Michelangelo Cerquozzi and Jan Miel. He also collaborated with Filippo Lauri, Adrien van der Cabel and Vicente Giner, already in the 1660s. The Bamboccianti, painters gathered around the figure of Pieter van Laer "Bamboccio", will exert a notable influence on Codazzi's mature style. He had several disciples and faithful followers, among them Ascanio Luciano and Andrea di Michele, in Naples, and also his son Niccolò Codazzi, Vicente Giner (who settled in Spain) and Domenico Roberti. Within his production it is worth mentioning for its originality his representation of the "Basilica of St. Peter" (1636), an unusual work within the genre of the "veduta". Painted in Naples, this painting shows the old entrance to the Vatican palace, destroyed when the Sala Regia and Bernini's colonnade were built, as well as two bell towers based on an engraving of the architect Martino Ferabosco's project, which was never built. One of his best known works is the representation of the Masaniello revolt in the Piazza del Mercato in Naples, with figures by Cerquozzi, which he made for Cardinal Bernardino Spada in 1648 (now in the Galleria Spada in Rome). Apart from these singular works, most of his paintings are medium format paintings, starring architectures in landscape settings. Works by Viviano Codazzi are currently held in the Museo del Prado, the Louvre, the Bowes Museum in County Durham (U.K.), the Indiana University Art Museum, the Minneapolis Institute of Art and the Walters Art Museum, among other public and private collections.

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