Carlo Coppola (attivo a Napoli 1740-1742) - Pubbl. A. Della Ragione - Scena di Battaglia
\Artist: Carlo Coppola (attivo a Napoli 1740-1742) - Pubbl. A. Della Ragione
Technique: Oil on canvas\Signature: Pubblicazione dello storico: Achille Della Ragione\Dimensions: 60_10_72_cm
CARLO COPPOLA (active in Naples between 1740 and 1742) Battle scene Oil on canvas, cm. 35. 5 x 48 - Pub. Achilles of Reason Size with frame, cm. 50 x 62 x 4 approx. BROWSE CATALOG (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/46 NOTES: Achille della Ragione Publication. Publication of the catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Origin. Publication by the Neapolitan historian Achille della Ragione. Work with gilded wood frame (Defects) : This splendid ancient painting, oil on canvas depicting a Battle Scene, was brought back - by the Neapolitan historian Achille della Ragione - to the hand of the painter Carlo Coppola (active in Naples between 1740 and 1742) . The work, unpublished and published by the historian (Achille della Ragione, in The battle painting in Naples in the seventeenth century, p. 95, plate 41, and cover) , illustrates the narration of a battle without heroes, of knights assaulting , a genre that met with widespread success in seventeenth-century Neapolitan painting and flattering success among collectors. The nobility loved to adorn the walls of their halls with battles depicting individual acts of heroism or complex battles that exalted patriotism and war skill, virtues in which the nobles loved to identify. Still little known painter in the wide Neapolitan figurative panorama active around the middle of the seventeenth century, Carlo Coppola is part of the variegated workshop of Aniello Falcone, in which he certainly occupied a prominent position and was well liked by all, as evidenced by the words of De Dominici, which the artist gives us little information in the margins of the pages dedicated to the famous master. He was active for over twenty years, from 1640 to 1665 and his catalog, interesting because it testifies to a particular historical moment and to the tastes of private clients, is still to be defined, even if many of his works are signed. Let's go back to the words of De Dominici: "He did very well in battles, and so much so that many times his works are changed with those of the Master himself, but both the soldiers and Coppola's horses have a certain fullness more than those of Falcone, and especially the backs of the horses are very round, which is not very suitable for war horses ". As always, the famous biographer is keenly able to define the style of an author and to highlight an important aspect of his activity, which has contributed to confusing part of his best production with the work of the master. In fact, despite the habit of signing his works, the dishonesty of the merchants, skilled with the scraper, has often, not only at the time of De Dominici, made battles of Our own pass for Falcone, while more than one village scene is assigned from the critics to the Gargiulo, a shopmate, who in recent years has met with conspicuous commercial success thanks to an exhaustive monograph and a well-curated exhibition. One way to recognize Coppola's brush in unsigned paintings is to carefully observe the backs and tails of his horses, present not only in battles, but also in martyrdom scenes. The former are always imposing, powerful and sculptural, while the tail is constantly fluffy and very rich in hair, which reaches the ground. A detail that, due to its originality, constitutes a sort of hidden symbol and that we can also observe in our canvas in question. The distinctive pathognomonic characters are fully respected in the unpublished painting that we report, where his knights wear plumed helmets and steeds stand out imposingly in the foreground, while in the background the scene of the fight is dominated by a hilly landscape. In the Battle exhibited here, in fact, the horses with a powerful rump and fluffy tail touching the ground are featured in the foreground (cit. Achille della Ragione, 2021) . Regarding its state of conservation, the canvas is in a fairly conservative state. The pictorial surface is presented in patina. We can see - in Wood's light - an oxidized varnish, with small scattered restorations and some unveiling of the pictorial surface. In sunlight, a subtle crackle is visible compared to the time, and a few small drops in color. The frame may have been replaced at the time of the relining. The painting - of good pictorial quality - is very interesting both for its iconographic setting and for the drafting of the colors, synonymous with an artist of great interpretative quality. The measures of the canvas are cm. 35. 5 x 48. The painting is sold with a gilded frame (dimensions approx. 50 x 62 x 4 cm, defects present) . ORIGIN: Coll. Private PUBLICATION: Unpublished; Achille della Ragione, in Battle painting in Naples in the seventeenth century, Napoli Arte Edition, Naples 2021, p. 95, pl. 41, cover photo; MYTHS AND THE TERRITORY in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of paintings from the collection of the “Myths and the territory” cycle, 2nd Ed. , Publisher Lab_04, Marsala, 2022. We also guarantee accurate packaging with external wooden crate and bubble wrap / cardboard / internal polystyrene (packaging cost approximately € 100. 00) and tracked shipping (€ 100. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport) , at the export office (Superintendency of the territory) with the times and costs incurred ( € 300 / € 500, all included: shipping, packaging and particular exports) . The original documents (including catalog, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days / week for logistical and administrative reasons.
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\Artist: Carlo Coppola (attivo a Napoli 1740-1742) - Pubbl. A. Della Ragione
Technique: Oil on canvas\Signature: Pubblicazione dello storico: Achille Della Ragione\Dimensions: 60_10_72_cm
CARLO COPPOLA (active in Naples between 1740 and 1742) Battle scene Oil on canvas, cm. 35. 5 x 48 - Pub. Achilles of Reason Size with frame, cm. 50 x 62 x 4 approx. BROWSE CATALOG (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/46 NOTES: Achille della Ragione Publication. Publication of the catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Origin. Publication by the Neapolitan historian Achille della Ragione. Work with gilded wood frame (Defects) : This splendid ancient painting, oil on canvas depicting a Battle Scene, was brought back - by the Neapolitan historian Achille della Ragione - to the hand of the painter Carlo Coppola (active in Naples between 1740 and 1742) . The work, unpublished and published by the historian (Achille della Ragione, in The battle painting in Naples in the seventeenth century, p. 95, plate 41, and cover) , illustrates the narration of a battle without heroes, of knights assaulting , a genre that met with widespread success in seventeenth-century Neapolitan painting and flattering success among collectors. The nobility loved to adorn the walls of their halls with battles depicting individual acts of heroism or complex battles that exalted patriotism and war skill, virtues in which the nobles loved to identify. Still little known painter in the wide Neapolitan figurative panorama active around the middle of the seventeenth century, Carlo Coppola is part of the variegated workshop of Aniello Falcone, in which he certainly occupied a prominent position and was well liked by all, as evidenced by the words of De Dominici, which the artist gives us little information in the margins of the pages dedicated to the famous master. He was active for over twenty years, from 1640 to 1665 and his catalog, interesting because it testifies to a particular historical moment and to the tastes of private clients, is still to be defined, even if many of his works are signed. Let's go back to the words of De Dominici: "He did very well in battles, and so much so that many times his works are changed with those of the Master himself, but both the soldiers and Coppola's horses have a certain fullness more than those of Falcone, and especially the backs of the horses are very round, which is not very suitable for war horses ". As always, the famous biographer is keenly able to define the style of an author and to highlight an important aspect of his activity, which has contributed to confusing part of his best production with the work of the master. In fact, despite the habit of signing his works, the dishonesty of the merchants, skilled with the scraper, has often, not only at the time of De Dominici, made battles of Our own pass for Falcone, while more than one village scene is assigned from the critics to the Gargiulo, a shopmate, who in recent years has met with conspicuous commercial success thanks to an exhaustive monograph and a well-curated exhibition. One way to recognize Coppola's brush in unsigned paintings is to carefully observe the backs and tails of his horses, present not only in battles, but also in martyrdom scenes. The former are always imposing, powerful and sculptural, while the tail is constantly fluffy and very rich in hair, which reaches the ground. A detail that, due to its originality, constitutes a sort of hidden symbol and that we can also observe in our canvas in question. The distinctive pathognomonic characters are fully respected in the unpublished painting that we report, where his knights wear plumed helmets and steeds stand out imposingly in the foreground, while in the background the scene of the fight is dominated by a hilly landscape. In the Battle exhibited here, in fact, the horses with a powerful rump and fluffy tail touching the ground are featured in the foreground (cit. Achille della Ragione, 2021) . Regarding its state of conservation, the canvas is in a fairly conservative state. The pictorial surface is presented in patina. We can see - in Wood's light - an oxidized varnish, with small scattered restorations and some unveiling of the pictorial surface. In sunlight, a subtle crackle is visible compared to the time, and a few small drops in color. The frame may have been replaced at the time of the relining. The painting - of good pictorial quality - is very interesting both for its iconographic setting and for the drafting of the colors, synonymous with an artist of great interpretative quality. The measures of the canvas are cm. 35. 5 x 48. The painting is sold with a gilded frame (dimensions approx. 50 x 62 x 4 cm, defects present) . ORIGIN: Coll. Private PUBLICATION: Unpublished; Achille della Ragione, in Battle painting in Naples in the seventeenth century, Napoli Arte Edition, Naples 2021, p. 95, pl. 41, cover photo; MYTHS AND THE TERRITORY in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of paintings from the collection of the “Myths and the territory” cycle, 2nd Ed. , Publisher Lab_04, Marsala, 2022. We also guarantee accurate packaging with external wooden crate and bubble wrap / cardboard / internal polystyrene (packaging cost approximately € 100. 00) and tracked shipping (€ 100. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport) , at the export office (Superintendency of the territory) with the times and costs incurred ( € 300 / € 500, all included: shipping, packaging and particular exports) . The original documents (including catalog, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days / week for logistical and administrative reasons.
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