Girolamo Forabosco 
Venice 1605 - 1679 Padua, attributed 
Portrait of a Noblewom…
Description

Girolamo Forabosco Venice 1605 - 1679 Padua, attributed Portrait of a Noblewoman Oil on canvas, relined 128 x 101.5 cm, with frame 154 x 128 cm Girolamo Forabosco was an Italian Baroque painter known for his portraits and religious compositions. Born in Venice, Forabosco was influenced by the city's rich artistic traditions as well as the works of famous Venetian painters such as Titian and Tintoretto. He gained a reputation for skilfully capturing the fine features and expressive personalities of his subjects. Forabosco's works are characterised by their attention to detail, the rich use of colour and the dramatic interplay of light and shadow, which are key features of the Baroque style. This portrait shows a noble lady who radiates the elegance and refinement typical of the Venetian aristocracy. Her curly hair is adorned with a pompous hair ornament that lends her appearance a touch of grandeur. Large earrings frame her face, while a bow-like arrangement and a striking red flower in her hair emphasise her aristocratic presence. The lady's dress is a delicate pink colour, contrasted by white lace at the neckline and sleeves and black trims. This shows Forabosco's meticulous attention to the details of fabric and fashion. Golden chains are draped over her dress, adding a touch of opulence. With her left hand, she grasps the voluminous folds of her dress, suggesting both grace and dynamism in her pose. With her right hand, she leans elegantly on a table on which an antique-looking vase with a colourful floral still life stands. The background of the painting is darkened, creating a strong contrast that emphasises the illuminated figure of the sitter. This dark background, which is typical of Baroque portraiture, serves to draw the viewer's attention to the lady's dignified presence and the intricate details of her clothing. A fluted column behind the flowers adds a classical element to the composition, indicating both the aristocratic lineage and cultural sophistication of the sitter. Overall, Forabosco's portrait conveys a sense of the sitter's status and personality through the careful composition and rich, textured details.

Girolamo Forabosco

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GIROLAMO FORABOSCO (Venice, 1605 - Padua, 1679). "Joseph and the wife of Potiphar". Oil on canvas. -Bibliography: Girolamo Forabosco. Chiara Marin. Venezia Barocca. Close Edizioni. Page 457. Fig. 98 (cat.69). Measurements: 105 x 135 cm. In this magnificent painting the biblical episode of the attempt of Potiphar's wife to seduce Joseph is narrated. This one tries to flee from the embrace of the beautiful young woman, whose nudity reveals an agile and slender body. Joseph, dressed in tunic and cloak, tries not to look at her, adopting a gesture of rejection. Her sensual insinuation and frank nudity contrasts with his double layer of clothing and modesty. Since the Renaissance, this has been a much treated theme, and the artist picks up this legacy by entering into a fruitful dialogue with tradition, as is usual in his best compositions. In the flesh tones ignited by passion, in the histrionic gestures and the satin finishes of the garments, the painter succeeds in reviving the sensuality of the Venetian school, infusing it with a romantic imprint. Potiphar, who was a high official belonging to the Pharaoh's court, had acquired Joseph, who had been sold as a slave. After his diligence, Potiphar, appointed Joseph head of the house, it was at that moment, when Potiphar's wife began to notice Joseph, trying to seduce him. Taking advantage of an occasion when the house did not have any of the men in charge, the woman insinuated herself to Joseph, who fled. However, upon Potiphar's return, the woman accused Joseph of attempted rape, for which Joseph was sent to prison. Girolamo Forabosco or Gerolamo Ferrabosco was a 17th-century Venetian Baroque painter active in Padua and Venice between 1636 and 1644. After studying with Alessandro Varotari (il Padovanino) in Venice, Girolamo Forabosco was artistically influenced by Bernardo Strozzi. He was admitted to the Fraglia dei Pittori between 1634 and 1639 and was a paying member from 1640 to 1644. He adopted the compositional style and subjects of Tiberio Tinelli. By 1653 he had a studio in Padua, but the following year he was back in Venice, where he painted an altarpiece for the patriarch Federico Cornaro, who died in 1654, and a Portrait of Carlo Contarini, Doge. Throughout his career he produced a relatively small number of works, mainly portraits, a genre that secured his reputation, recovering models of sixteenth-century compositions and reviving them through a more vibrant use of color. -Bibliography: Girolamo Forabosco. Chiara Marin. Venezia Barocca. Cierre Edizioni. Page 457. Fig. 98 (cat.69).