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Costantino Cedini (Padova 1741 - Venezia 1811)
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Milan, Italy
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Beschreibung
Costantino Cedini (Padova 1741 - Venezia 1811)Rinaldo e Armida - Carlo e Ubaldo liberano Rinaldo trattenuto da ArmidaCoppia di olio su tela 190 x 208 cm e 196 x 228 cmLe due tele emersero nel mercato in occasione dell'asta 185 della Farsetti nell'ottobre del 2018, con l'attribuzione a Giambattista Canal, ossequioso pittore tiepolesco che poi aderì all'arte neoclassica. Da una attenta analisi stilistica, si scorge che la lezione del Tiepolo è rivista e ingentilita da pose eleganti e plastiche che ricordano la pittura di Jacopo Guarana. Un artista che intrecciò la lezione tiepolesca con l'arte del primo Settecento veneziano, quindi di Sebastiano Ricci, Gaspare Diziani, Gian Antonio Pellegrini e Jacopo Amigoni, citandone alcuni, tramandando la loro raffinata espressione pittorica. A conferma di questa stretta affinità tra il Guarana e la nostra coppia di tele, interessante notare la quasi identica figura, al centro dell'affresco Le baccanti, che Guarana eseguì a Villa Pisani di Strà, con la nostra figura femminile in Carlo e Ubaldo liberano Rinaldo trattenuto da Armida. Inoltrandoci tra i vari maestri attivi in Veneto in quei decenni, l'attenzione ricade su un artista che incarna sia influenze di Tiepolo sia Guarana: Costantino Cedini. A conferma della tesi proposta, molto interessante risulta osservare come le due tele evidenziano una precisa continuità stilistica con le decorazioni eseguite da Costantino Cedini a Palazzo Fulcis De Bertoldi a Belluno. Cedini mosse i primi passi nell'ambiente artistico guidato dagli allievi del Piazzetta e del Tiepolo, in particolare sotto la guida di Giacomo Guarana, del quale fu generalmente considerato allievo. Insegnò all'Accademia di Venezia in maniera discontinua dal 1784 al 1797, occupandosi in particolare di nudo. Come molti artisti del suo tempo fu coinvolto stilisticamente dall'arte di Tiepolo. Questa influenza fu rivista in maniera personale da parte di Cedini, che preferì attenuare certe esuberanze in favore di un'espressione più classicheggiante. Operò molto sia nelle chiese veneziane, San Barnaba e San Cassiano, sia per committenti privati, sempre a Venezia, a palazzo Dolfin Manin, a palazzo Moro Lin, a palazzo Giustinian, a palazzo Contarini delle Figure, ed a palazzo Balbi Valier. Inoltre, sono tutt'oggi presenti i suoi cicli pittorici in molte chiese del veneziano e in alcuni importanti palazzi come villa Cappello di Noventa, palazzo Maldura di Padova, villa Da Zara-Biasioli di Casalserugo, palazzo Fulcis di Belluno.Costantino Cedini (Padua 1741 - Venice 1811)Rinaldo and Armida - Carlo and Ubaldo Free Rinaldo Held by ArmidaA pair of oil paintings on canvas 190 x 208 cm and 196 x 228 cmThe two canvases emerged on the market at Farsetti's auction 185 in October 2018, with the attribution to Giambattista Canal, an obsequious Tiepolo painter who later adhered to neoclassical art. A careful stylistic analysis reveals that Tiepolo's lesson is revised and softened by elegant and plastic poses reminiscent of Jacopo Guarana's painting. An artist who intertwined Tiepolo's lesson with the art of early 18th century Venice, and thus of Sebastiano Ricci, Gaspare Diziani, Gian Antonio Pellegrini and Jacopo Amigoni, to name but a few, passing on their refined pictorial expression. Confirming this close affinity between Guarana and our pair of canvases, it is interesting to note the almost identical figure in the centre of the fresco The Bacchae, which Guarana painted at Villa Pisani di Strà, with our female figure in Carlo and Ubaldo free Rinaldo held by Armida. Browsing through the various masters active in Veneto in those decades, our attention falls on an artist who embodies both Tiepolo and Guarana's influences: Costantino Cedini. To confirm the proposed thesis, observing how the two canvases show a precise stylistic continuity with the decorations executed by Costantino Cedini in Palazzo Fulcis De Bertoldi in Belluno is very interesting.
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Costantino Cedini (Padova 1741 - Venezia 1811)Rinaldo e Armida - Carlo e Ubaldo liberano Rinaldo trattenuto da ArmidaCoppia di olio su tela 190 x 208 cm e 196 x 228 cmLe due tele emersero nel mercato in occasione dell'asta 185 della Farsetti nell'ottobre del 2018, con l'attribuzione a Giambattista Canal, ossequioso pittore tiepolesco che poi aderì all'arte neoclassica. Da una attenta analisi stilistica, si scorge che la lezione del Tiepolo è rivista e ingentilita da pose eleganti e plastiche che ricordano la pittura di Jacopo Guarana. Un artista che intrecciò la lezione tiepolesca con l'arte del primo Settecento veneziano, quindi di Sebastiano Ricci, Gaspare Diziani, Gian Antonio Pellegrini e Jacopo Amigoni, citandone alcuni, tramandando la loro raffinata espressione pittorica. A conferma di questa stretta affinità tra il Guarana e la nostra coppia di tele, interessante notare la quasi identica figura, al centro dell'affresco Le baccanti, che Guarana eseguì a Villa Pisani di Strà, con la nostra figura femminile in Carlo e Ubaldo liberano Rinaldo trattenuto da Armida. Inoltrandoci tra i vari maestri attivi in Veneto in quei decenni, l'attenzione ricade su un artista che incarna sia influenze di Tiepolo sia Guarana: Costantino Cedini. A conferma della tesi proposta, molto interessante risulta osservare come le due tele evidenziano una precisa continuità stilistica con le decorazioni eseguite da Costantino Cedini a Palazzo Fulcis De Bertoldi a Belluno. Cedini mosse i primi passi nell'ambiente artistico guidato dagli allievi del Piazzetta e del Tiepolo, in particolare sotto la guida di Giacomo Guarana, del quale fu generalmente considerato allievo. Insegnò all'Accademia di Venezia in maniera discontinua dal 1784 al 1797, occupandosi in particolare di nudo. Come molti artisti del suo tempo fu coinvolto stilisticamente dall'arte di Tiepolo. Questa influenza fu rivista in maniera personale da parte di Cedini, che preferì attenuare certe esuberanze in favore di un'espressione più classicheggiante. Operò molto sia nelle chiese veneziane, San Barnaba e San Cassiano, sia per committenti privati, sempre a Venezia, a palazzo Dolfin Manin, a palazzo Moro Lin, a palazzo Giustinian, a palazzo Contarini delle Figure, ed a palazzo Balbi Valier. Inoltre, sono tutt'oggi presenti i suoi cicli pittorici in molte chiese del veneziano e in alcuni importanti palazzi come villa Cappello di Noventa, palazzo Maldura di Padova, villa Da Zara-Biasioli di Casalserugo, palazzo Fulcis di Belluno.Costantino Cedini (Padua 1741 - Venice 1811)Rinaldo and Armida - Carlo and Ubaldo Free Rinaldo Held by ArmidaA pair of oil paintings on canvas 190 x 208 cm and 196 x 228 cmThe two canvases emerged on the market at Farsetti's auction 185 in October 2018, with the attribution to Giambattista Canal, an obsequious Tiepolo painter who later adhered to neoclassical art. A careful stylistic analysis reveals that Tiepolo's lesson is revised and softened by elegant and plastic poses reminiscent of Jacopo Guarana's painting. An artist who intertwined Tiepolo's lesson with the art of early 18th century Venice, and thus of Sebastiano Ricci, Gaspare Diziani, Gian Antonio Pellegrini and Jacopo Amigoni, to name but a few, passing on their refined pictorial expression. Confirming this close affinity between Guarana and our pair of canvases, it is interesting to note the almost identical figure in the centre of the fresco The Bacchae, which Guarana painted at Villa Pisani di Strà, with our female figure in Carlo and Ubaldo free Rinaldo held by Armida. Browsing through the various masters active in Veneto in those decades, our attention falls on an artist who embodies both Tiepolo and Guarana's influences: Costantino Cedini. To confirm the proposed thesis, observing how the two canvases show a precise stylistic continuity with the decorations executed by Costantino Cedini in Palazzo Fulcis De Bertoldi in Belluno is very interesting.
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