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Angelo Maria Crivelli known as Crivellone

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Angelo Maria Crivelli known as Crivellone
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Detailed Description

Angelo Maria Crivelli known as Crivellone (news from 1662 - 1730)
Living nature with fox and ducks with classical background
Oil on canvas, 178.8 x 119 cm - with frame 184 x 124.5 cm

The particular still life examined here is to be referred to to the hand of Angolo Maria Crivelli, called the Crivellone (news from around 1662 - 1730), an animalist painter with great skills. L'Orlandi (1719) was the first to attribute the Milanese homeland to him and Zani (1821), in his biography, indicates the death that occurred around 1730. His production focuses on the representation of hunting scenes, wild birds, farm animals and fish. These subjects had a precise Nordic matrix, in particular Flemish, linked to some painters from the Rubens circle, such as Frans Snyders and Paulus de Vos, and other specialists such as Jan Fyt, Weenix and Hondecoeter. The reference to these artists brings the two antithetical aspects with which the Crivellone faces the representation of the animal world: the bloody hunting or fighting scenes, always in the foreground, and the peaceful and serene world of courtyards, or gardens as in our case. To be precise, observing the canvas, one can immediately notice the rarity of the composition. In fact, the painter has chosen to set a living nature in an elegant garden, adorned with a balustrade, surmounted by sculptures with classical forms. In the foreground, the expressive vivacity that the Crivellone manages to give to the animals, especially the terrified eye of the white duck on the right and the ferocity of the fox on the left, is undeniable. The brushstroke is fast, yet defined, and vibrates, transmitting further excitement to the dynamism inherent in the scene. The rendering of the mantles, of great quality, seems alive, making the real idea of the hair of the animals. In the background, from the lightest tones, two peacocks can be seen. The confirmation of the paternity to the Crivellone comes above all on the basis of the comparison with some of his paintings, particularly the rendering of the fox or the model of the duck with the white plumage and the characteristic black spot around the eye, is clearly attributable to the attack by Renard, mistakenly attributed to Giorgio Duranti (1687-1753) and then returned to the Crivellone (Asta Aguttes, 09/20/2016), as well as numerous other living natures, always characterized by the presence of ducks and birds. As regards relations with the client, there were works by the painter between the small nobility and the rich bourgeoisie, usually attentive also to the aforementioned Nordic painters. In particular, some canvases by Crivellone were present in the collections of some Milanese families such as the Arese, Visconti, Casati, as well as in the collection of the Carrara family from Bergamo and the Ala Ponzone family from Cremona. At the moment one can admire some works by the painter at the Pinacoteca dell'Accademia Carrara in Bergamo, in Milan at the Pinacoteca di Brera, in the collections of the Pinacoteca Ambrosiana (Gallo, turkeys, chicks; Poultry, courtyard animals) and in the Civic Collections of the Castello Sforzesco , and finally in Turin at the Civic Museum and in the Museum of Palazzo Madama, in addition to the presence of some paintings in private collections.

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Ars Antiqua srl Milano, Via Carlo Pisacane, 55 (Milano - Italy)

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