After Marzio Masturzo, Battle Scene, 1680, Oil on Canvas, Framed

Details

Description

Marzio masturzo (active in naples and rome in the second half of the 17th century)
attributable

battle between christian and … Read more Marzio masturzo (active in naples and rome in the second half of the 17th century)
attributable

battle between christian and turkish cavalry

oil on canvas

78 x 144 cm. - framed 99 x 162 cm.

reference literature:
sestieri g., "i pittori di battaglia. Maestri italiani e stranieri del xvii e xviii secolo", ed. De luca 1999

complete details of the work
the painting depicts a heated battle scene between christian and turkish cavalry, set on a vast plain near a fortified city. The scene, characterized by marked dynamism and expressive force, immortalizes the two sides in the heat of battle, while lifeless bodies, scattered weapons, and wounded horses lie on the ground, heightening the drama of the clash.

the scene—which captures the full energy of the battle with a complex and well-balanced composition—the ample descriptive space given to the setting, the color palette, and the manner in which the characters are depicted, allow us to attribute our painting to a painter active in naples in the mid-17th century.

the battles of neapolitan painters are often enhanced by intense color, a vivid and bold brushstroke, where bright reds and blues stand out, suggesting to the viewer the crux of the conflict, with the characteristic swirling clouds rising from the battle.

the canvas, in particular, harks back to the pictorial output of marzio masturzo, an emblematic exponent of the genre of 17th-century italian "battle painters," active in naples and then rome in the second half of the 17th century.

a distinctive feature of this scene is the depiction of the combat in the foreground, depicted with realism, excellent pictorial quality, and careful direction, highlighting the vortex of violence that culminates at the center of the canvas, with the two opposing knights, with a surprisingly realistic tone.

another typical feature of the neapolitan artist is the presence of lateral backdrops created by fortified hills overlooking fortresses and castles, sometimes inspired by real buildings. These, combined with clouds and black smoke, create a sort of scenic presence around the battlefield.

in our canvas, a fortification with round towers stands out on the right, evoking the maschio angioino, a castle described by the painter several times, often with variant interpretations.

the canvas offers several possible comparisons with works from his oeuvre, as can be seen in some of the comparative images below, which are characterized by the same elements, including similar speed of execution, caricatural physiognomies, and lateral backdrops with towers, like those found in palazzo barberini.

works of certain attribution (including the battle of the national gallery of rome) demonstrate the painter's closeness to salvator rosa, of whom he was a pupil and friend, as well as to the early work of jacques courtois, known as the burgundian.

we can also see these parallels in the "battle between turkish and christian knights," signed mm on the back and published in sestieri's monograph (p. 388 no. 9, fig. 2).

among masturzio's works comparable to ours, noteworthy are paintings of the same subject in two private collections, one in parma (https://catalogo.fondazionezeri.unibo.it/scheda/opera/86110/, fig. 3) and the other in modena (fig. 4). Another notable work is the battle scene, also depicting a clash between christian and turkish cavalry, catalogued in the zeri photo archive with entry number 84536 (https://catalogo.fondazionezeri.unibo.it/scheda/opera/86459/, fig. 5). All three of these works reproduce, within a context of precise compositional similarities, the central figure of the warrior on a white horse rushing towards the enemy, pistol in hand, from our painting.

additional information:
good condition, complete with gilded and lacquered frame.
the work is sold complete with a certificate of authenticity and an iconographic .
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



issues arising from misattribution See less