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Landscape with classical ruins. Oil on canvas. Attributed to GINER, Vicente (ca. 1636-1681). Relining. Landscape with rocks and buildings in the background that presents, in the foreground, some buildings with a marked classicist air, accompanied by two female sculptures on separate pedestals. At the foot of this building, there is a group of people, dressed in the classical manner (women, children and a soldier with a spear). Vicente Giner, canon and artist originally from Castellón, is documented working in Rome during the last quarter of the 17th century (until he died here in 1681), where he requested, along with others, Charles II to create an Academy of Spanish artists. in the city. Experts place him as a collaborator and outstanding follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly coming from Cornelio de Wael's). He painted perspectives of classicist temples and palaces, accompanied by representations normally of popular themes and in which the figures (in a small number) are barely anecdotal elements compared to those architectures. Several private collections and institutions preserve his work, such as the Museum of Fine Arts of Valencia, the Collection of the Bank of Spain (Madrid), collections of the National Trust (Scotland), etc.
· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES
Ref.: ZF0795
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Narcissus in the fountain. Oil on panel. XIX century. Oil on panel that shows a landscape with trees and architectural elements of strong classicist influence (wall with reliefs, glass with garlands, sculptures, fountain) in which two figures appear. A young man dressed in a red tunic that reveals his chest and appears looking at his reflection in the fountain bowl is accompanied by a winged boy who has a bow and makes the gesture with his right hand of taking an arrow from the quiver of your back. The painting depicts the classical myth of Narcissus. According to classical mythology, Narcissus was a very beautiful young man who cruelly rejected the love of the nymph Echo, for which he was condemned by Nemesis to fall in love with his own image. Thus, upon seeing himself reflected in a fountain or spring (many representations show him crouching on the shores of a lake; note the particularity of the present work in showing an architectural and not a “natural” source), he became absorbed and ended up committing suicide, ending converted into the flower that bears his name or emerging from the place where the body fell.
· Size: 99x5,5x71 cms / int: 81,5x59,5 cms
ANTIQUES
Ref.: ZF0923
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Saint Stephen. Oil on canvas. 17th century, following engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to the sky; To the left of the viewer, the martyrdom of Saint Stephen is shown, under the heavenly appearance of Christ and God the Father; On the other side, some buildings and spectators are presented. Both in the composition and in the figures, an influence can be seen, directly or indirectly by other paintings, of an engraving by Aegidius Sadeler II (1570-1629) based on a Martyrdom of Saint Stephen by Jacopo Palma the Younger (1548-1628). .
· Size: 67x6x83 cms. int 43x58 cms
ANTIQUES
Ref.: ZF0760
