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LOT 0133

Allegedly by Johann Carl Loth known as "Il Carlotto"

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Paintings - Allegedly by Johann Carl Loth known as "Il Carlotto" (Munich 1632- 1698 Venice). Satyr flute player. 90X68, Oil painting on canvas in coeval frameJohann Carl Loth was educated in art in the family workshop, his father was a court painter of the elector of Bavaria and the mother painted miniatures. Around 1655 the artist arrives in Venice, but some sources consider it likely a brief stay in Rome as well. In the lagoon city, Loth immediately adhered to the naturalistic and gloomy taste of Giovanni Battista Langetti, to then soften its tones around the Seventies, and in late maturity express a more languid feeling, with less contrasting tones and compositions that are influenced by the Roman Baroque. The seventh decade is well marked by the canvas under examination, which shows excellent conservation qualities, attesting that the ?langettiani? expressive excesses lessen over time and the painter seems to update his style in similarity with his pupil Daniel Seiter (Vienna 1642 or 1647, Turin 1705). In fact, we notice an unprecedented sensuality in comparison to previous pieces, thanks to a clever use of lights, with the faces and the dismal colors and an illustrative monumentality, where the classicist suggestions find full harmony with its exuberant baroque tenor.

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26 Oct 2019
Italy, Catania
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[ translate ]

Paintings - Allegedly by Johann Carl Loth known as "Il Carlotto" (Munich 1632- 1698 Venice). Satyr flute player. 90X68, Oil painting on canvas in coeval frameJohann Carl Loth was educated in art in the family workshop, his father was a court painter of the elector of Bavaria and the mother painted miniatures. Around 1655 the artist arrives in Venice, but some sources consider it likely a brief stay in Rome as well. In the lagoon city, Loth immediately adhered to the naturalistic and gloomy taste of Giovanni Battista Langetti, to then soften its tones around the Seventies, and in late maturity express a more languid feeling, with less contrasting tones and compositions that are influenced by the Roman Baroque. The seventh decade is well marked by the canvas under examination, which shows excellent conservation qualities, attesting that the ?langettiani? expressive excesses lessen over time and the painter seems to update his style in similarity with his pupil Daniel Seiter (Vienna 1642 or 1647, Turin 1705). In fact, we notice an unprecedented sensuality in comparison to previous pieces, thanks to a clever use of lights, with the faces and the dismal colors and an illustrative monumentality, where the classicist suggestions find full harmony with its exuberant baroque tenor.

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Sale price
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Estimate
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Time, Location
26 Oct 2019
Italy, Catania
Auction House
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