After Giovani Ghisolfi, View of Classical Ruins Pythagoras Landscape, 1660, Oil on Canvas, Framed

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Giovani ghisolfi (milan 1623-1683), attributed/workshop
view of classical architectural ruins with the philosopher pythagoras pretending to return from hades

oil … Read more Giovani ghisolfi (milan 1623-1683), attributed/workshop
view of classical architectural ruins with the philosopher pythagoras pretending to return from hades

oil on canvas (cm. 70 x 84 - in frame cm. 86 x 100

the painting in question, depicting an architectural glimpse with classical ruins, can be traced back to the work of the milanese painter giovanni ghisolfi and resumes the work that the painter created for the renowned collection of cardinal pietro ottoboni, great-nephew of pope alexander viii, then passed to the roman almagià collection.
g. Ghisolfi, pythagoras reemerges from hades almagià collection, rome (lazio, italy)

on the left side you can see the ruins of an ancient temple, which evoke that of saturn in the roman forum, while the animated scene in the foreground is a fascinating representation of the greek philosopher pythagoras as he emerges from the cave he built himself, where he decided to retire to meditate and study philosophy, then telling his followers who were waiting for his return that he had reached hades and was therefore resurrected.

the scene is flooded with a dark light to evoke the late evening, where the rays that stand out on the pillars and rocks have an evocative, metaphysical effect, and with the clouds on the horizon that give brighter colors.

the painting is a good testimony to ghisolfi's classicist 'ruinism', and in particular of his mature phase, characterized by constructions orchestrated with measured and wise balance. This is the softer and freer pictorial style of the painter of lombard origins, who owes much to the influence of salvator rosa, with whom he was a close friend during his stay in rome in the 1650s.

ghisolfi was a forerunner compared to many artists of the following century who drew fruitful inspiration from this last phase of the milanese master by birth but roman by adoption. It was in the papal city that he matured his training in these particular iconographies, based on ancient roman vestiges, and thanks to which he became the most established specialist in this genre.

an examination of the wood's lamp shows slight restoration work, but overall the state of conservation is excellent.

painting complete with certificate of authenticity in accordance with the law.
giovani ghisolfi (milan 1623-1683), attributed/workshop
view of classical architectural ruins with the philosopher pythagoras pretending to return from hades

oil on canvas (cm. 70 x 84 - in frame cm. 86 x 100)

full details of the work (link)

the painting in question, depicting an architectural glimpse with classical ruins, can be traced back to the work of the milanese painter giovanni ghisolfi and resumes the work that the painter created for the renowned collection of cardinal pietro ottoboni, great-nephew of pope alexander viii, then passed to the roman almagià collection.
g. Ghisolfi, pythagoras reemerges from hades almagià collection, rome (lazio, italy)

on the left side you can see the ruins of an ancient temple, which evoke that of saturn in the roman forum, while the animated scene in the foreground is a fascinating representation of the greek philosopher pythagoras as he emerges from the cave he built himself, where he decided to retire to meditate and study philosophy, then telling his followers who were waiting for his return that he had reached hades and was therefore resurrected.

the scene is flooded with a dark light to evoke the late evening, where the rays that stand out on the pillars and rocks have an evocative, metaphysical effect, and with the clouds on the horizon that give brighter colors.

the painting is a good testimony to ghisolfi's classicist 'ruinism', and in particular of his mature phase, characterized by constructions orchestrated with measured and wise balance. This is the softer and freer pictorial style of the painter of lombard origins, who owes much to the influence of salvator rosa, with whom he was a close friend during his stay in rome in the 1650s.

ghisolfi was a forerunner compared to many artists of the following century who drew fruitful inspiration from this last phase of the milanese master by birth but roman by adoption. It was in the papal city that he matured his training in these particular iconographies, based on ancient roman vestiges, and thanks to which he became the most established specialist in this genre.

an examination of the wood's lamp shows slight restoration work, but overall the state of conservation is excellent.

painting complete with certificate of authenticity in accordance with the law. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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