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Ancient Painting of the Late Seventeenth Century anticSwiss 03/10/2021 22:04:28 http://www.anticswiss.com Ancient painting of the late seventeenth century FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Laboratorio la Mole Torino Style: Alta epoca +39011 19 467 664 393357352986 Height:120cm Width:100cm Depth:3cm Material:Olio su tela Price:0€ DETAILED DESCRIPTION: Atelier of the painter Elisabetta Sirani The story of Sansone and Dalila is a story of seduction and deception. The ingredients of the biblical story seem to have been chosen to speak in our day: Samson, as he points out in his name, is as hot as the sun and as beautiful as a god; she, as the Arabic root of the name Dalila suggests, knows how to behave like a "loving guide". Furthermore, between these two youngsters there is also the exotic Middle Eastern charm and the risk that ignites the desire for adventure: they are lovers of two different peoples and moreover at war. The enemies of the invincible Samson, taking advantage of the ascendancy that the beautiful Dalilah had over him, promise the bewitching girl a large sum of money in exchange for the possibility of capturing the strong enemy of the Philistines. The prospect of money triggers the seduction of love: money and sex are two very effective weapons to make human beings capitulate! Aroused by money, but even more - as often happens to women - from the idea of seducing such an important man, Dalila begins to circumvent Sansone to learn the secret of his unprecedented strength which so intimidated his adversaries: "Explain to me: where does it come from? your strength so great and how could you be bound to ask yourself? " . Samson, suspicious in front of the young woman's interest, puts Dalila on the wrong path inflicting a scorching humiliation. He suggests she tie it with seven fresh bow strings that would have made it weak and weak; but all this becomes an opportunity to once again reveal its superhuman strength. Faced with this deception, Dalila feels wounded in pride: Samson had made fun of her and now the young woman feels inflamed with a desire for revenge. What's more, Samson surpasses every measure by repeating the joke three times! Driven by the desire to take revenge on Samson for his deceptions, Dalila goes on to emotional blackmail and says: "How can you tell me: I love you, while your heart is not with me? You have already mocked me three times and you have not explained me where your great strength comes from ". Here, then, his incomparable astuteness and tenacity come forward: since Dalila bothered and 1 / 3 anticSwiss 03/10/2021 22:04:28 http://www.anticswiss.com tormented Samson every day, in the end he yields to his flattery and opens his whole heart to her. The young woman then puts into practice her subtle erotic art: "She put him to sleep on his knees". Dalila's deception eventually prevails over Samson's ingenuity. Elisabetta Sirani (Bologna, 8 January 1638 - Bologna, 28 August 1665) was a baroque painter and Italian engraver. Elisabetta was the first of Margherita and Giovanni Andrea Sirani's four sons, a well-known Bolognese painter, Guido Reni's first assistant and art dealer. While Antonio, the smallest and only son, would have devoted himself to medicine, Elisabetta studied with his sisters Barbara and Anna Maria at the paternal school where he immediately demonstrated talent and mastery by making some portraits already at the age of seventeen. He began his activity producing small paintings commissioned for private devotion, the so-called "bed squares". One of his first works is the Saint Anthony of Padua and the baby Jesus in a private collection, in which, however, his father's hand intervenes to paint the infant Christ and the saint's mantle. [1] Elizabeth then became known for her representations inspired by sacred themes (in particular as a Madonnas painter) or of an allegorical nature, as well as for portraits of biblical or literary heroines (from Giuditta to Dalila, from Porzia to Cleopatra), of the latter it is recent the discovery in a Modena collection of a version with the breast discovered until now unknown and published by the researcher Alex Cavallucci. The painting preserved in Cesena in the Cassa di Risparmio Foundation, already given to Elisabetta's work, can be attributed with certainty to his father Giovanni Andrea Sirani. His technique was decidedly unusual for the time: in fact he sketched the subjects with quick sketches and then perfected them with the watercolor showing great ease or, to use a term of the time, with "sprezzatura" In an environment like the artistic one, considered a male prerogative and consequently not tolerating the "intrusion" of female protagonists, Elisabetta performed in public and in the presence of his clients (including nobles and artistocrats, ecclesiastics and prominent personalities such as some members of the Medici family, the Duchess of Parma and that of Bavaria) a part of their works not only adapting to a widespread custom of the time, but also to ward off any suspicion that it was not a woman to paint with such skill and «to dispel the voices that saw the clever father "exploiter" of a non-existent ability or ability of the daughter ". Next to the canvases, from an early age Sirani also made etched etchings made from her paintings. Approximately 200 works are attributed to her: a quantity deemed exaggerated in just ten years in which she worked, although in truth she does not know the real number except for a list that she herself began to draw up in an already quite advanced phase of her short activity though. https://www.anticswiss.com/en/fine-art-antiques/ancient-painting-of-the-late-seventeenth-century-15609 2 / 3 anticSwiss 03/10/2021 22:04:28 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
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