Angelica and Medoro, Painting by the Roman School of the Sev

anticSwiss 30/09/2021 22:06:24 http://www.anticswiss.com Angelica and Medoro, painting by the Roman School of the sev FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:65cm Width:48cm Material:Olio su tela Price:3400€ DETAILED DESCRIPTION: Roman school, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm "Fra piacer many, everywhere a straight arbor / Vedesse ombrare or source or pure stream, / V'avea spillo or coltel immediately dense; / So, if there was any less hard stone: / And it was written out in a thousand places, / And so in the house in many other places on the wall, / Angelica and Medoro, in various ways / Linked together by different knots ”. (Ariosto, Orlando Furioso, XIX, 36) The canvas depicts one of the most famous episodes of Orlando furioso, a chivalrous poem by Ludovico Ariosto, published in Ferrara in 1519 and a source of inspiration for many artists of the following centuries. The protagonist of canto XIX is the beautiful Angelica, princess of Catai, with whom many Christian paladins have fallen in love, including the valiant Orlando, who in the course of the poem also goes mad, not seeing his sentiment reciprocated. Yet, the charming girl refuses all suitors, until, struck by the arrows of Love, she falls in love with Medoro, a simple Muslim infantryman. In fact, Angelica, having left the battlefields, finds him wounded in the woods and stops to treat him; the more the physical wound heals, the more the wound in the heart grows. Therefore Angelica decides to marry the Saracen in great secrecy in the forest and, overwhelmed by the loving passion, the two engrave their names everywhere, before leaving definitively for India. It is precisely this universal declaration of love that the 17th- century painter intended to depict. At the edge of the forest, Angelica is intent on carving the bark of a tree, while next to her, softly stretched out, is Medoro, who observes absorbed the gesture of her companion. They wear simple clothes, suited to the bucolic atmosphere in which their love story takes place, far from the bloody war settings narrated in previous songs by the poet from Ferrara. The painter must have been active in the Roman area in the 17th century. In the rendering of nature he seems 1 / 3 anticSwiss 30/09/2021 22:06:24 http://www.anticswiss.com in fact to look at the ways of Annibale Carracci (Bologna, 1560 - Rome, 1609) and his circle; the graceful poses of the characters, which seem reminiscent of ancient sculptures, and the delicate rendering of the clothes, whose colors based on red and white tones, stand out in a landscape otherwise dominated by the soft evening light, must be traced back to the classicism of the time. https://www.anticswiss.com/en/fine-art-antiques/angelica-and-medoro-painting-by-the-roman-school-of-the-sev-24147 2 / 3 anticSwiss 30/09/2021 22:06:24 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).

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Sixteenth-Century Spain Was a Propitious Site to Carry out Discovery
BODIES OF DISCOVERY: VESALIAN ANATOMY AND LUIS BARAHONA DE SOTO'S LAS LAGRIMAS DE ANGELICA Charles Ganelin Purdue University ixteenth-century Spain was a propitious site to carry out discovery. But I do not refer to so many outward voyages and both the de Sstruction and "civilizing" that took place in distant lands; rather, my focus is inward to other fantastic voyages of uncovering—literally— new terrain of the human body. The revitalized practice of anatomy and anatomical dissection in Spain, beginning almost mid-sixteenth century, placed the country for a brief time in the forefront of the new knowledge that has been called the "Vesalian revolution." Andreas Vesalius (1514- 1564), a physician and anatomist who trained at the Sorbonne in Paris, taught in Padua, became personal physician to Philip II, and published in 1543 his De humani corporis fabrica} This renewal of learning, a founda tion with profound implications for how knowledge is transmitted, af fected as well the literary representation of the body. In every age science discovers new wonders about the human organism, a constant reinvigo- rarion that fuels ever-expanding horizons about the textual capacity of the body, whether inscribed as a sign within a text, inscribed on itself or even cut in to. Growing out of a post-structuralist concern with inside/ outside dichotomies, seeking to resolve the tensions implicit in the act of dissection (cutting in to) and what it entails, and addressing the notion of "otherness" imbued in what we cannot or dare not see,2 recent studies
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