Cerchia di Felice Boselli (Piacenza, 1651 - Parma, 1732) - Natura Morta di Cacciagione
\Artist: Cerchia di Felice Boselli (Piacenza, 1651 - Parma, 1732)
Technique: Oil on panel\Signature: Not signed\Dimensions: 70_12_80_cm
Circle of Felice Boselli (Piacenza, 1651 - Parma, 1732) Still Life of Game Oil on wood, cm. 38 x 46. 5 Size with frame, cm. 60 x 69 x 5. NOTES: Certificate of Guarantee and Lawful Origin. Work with gilded frame (Defects) : “… The composition portrays a still life of game arranged on a table, offering a scene with a lively naturalism undoubtedly derived from Dutch and Flemish examples. The subject and the lively character of the brushstroke suggest the attribution to a talented artist who evokes the style of the works of Felice Boselli (Piacenza, 1651 - Parma, 1732) , also taking into consideration the countless similar compositions he painted. It was certainly this characteristic that brought Felice Boselli fame and fortune in collecting, and the proof is the number of similar works known, especially in the noble private collections of Piacenza and Parma, in which it must have even been an obligatory tribute to good taste and elegance adorn the walls of the dining rooms with his canvases. The rich but often truculent subjects depict slaughtered meats, gutted fish, birds, plucked chickens arranged in bulk in dark and smoky environments, where mostly stray cats or disheveled dogs often roam. Felice Boselli was an Italian painter of the Baroque period, best known as an animalist and still lifes. Son of Cristoforo, a shoemaker, and Lucia Cattaneo, little is known about his childhood. He was a painter active above all in Piacenza, from 1664 to 1669, he frequented the workshop of Michelangelo Nuvolone - brother of Giuseppe Nuvolone -, where he studied and introduced himself into the world of painting. Right in the workshop of Michelangelo Nuvolone he met Angelo Crivelli, nicknamed il Crivellone, an animalist specializing in game. Felice Boselli's style was greatly influenced by Nuvolone, even if the characteristics of his painting came from the study of still lifes by Parmigianino, as regards the figurations, and by Annibale Carracci as regards the themes. He has made more than one hundred still lifes, most of them scattered in Lombard and Emilian museums, he has also made many paintings of extracts from everyday life, quartered pigs, ox heads, hens, game, fish. The present painting presents a realistic composition of birds in the foreground. The robust brushstrokes, rich in pictorial paste in warm colors, are made brilliant in some passages by the play of light, offering the observer a concrete and living mimesis of nature in pose. These characters of style and the quality of the execution lead to a probable attribution to a painter close to or in the circle of Boselli, where there are suggestions of affinity with the production of the master from Piacenza. In comparison, we can cite countless similar creations published by Ferdinando Arisi (see Arisi, 1973) , in which we observe the same flickering, warm, one can say theatrical pictorial conduction in the best sense of the imaginary of the Baroque age. This explains the extraordinary critical and commercial success of the artist, whose canvases are cited in all the ancient inventories of the Parma and Piacenza areas by virtue of his fashion and the beauty of his works. Regarding its state of conservation, the table is in a fairly conservative state. The pictorial surface is presented in patina. We can see - in Wood's light - an oxidized varnish, with scattered restorations and some unveiling of the pictorial surface. A crackle is visible in sunlight compared to the time. There are problems of a conservative nature, such as small drops of color scattered in the table, especially in the edges, which may seem to require interventions, for further study of attribution. 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. 38 x 46. 5. The painting is sold with a recent gilded frame (dimensions approx. 60 x 69 x 5 cm, presence of defects) . ORIGIN: Coll. private PUBLICATION: Unpublished; 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, Publisher Lab_04, Marsala, (in print 2021) . 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 Certificate of Export (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 300 / € 500, all included: shipping, packaging and particular exports) .
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\Artist: Cerchia di Felice Boselli (Piacenza, 1651 - Parma, 1732)
Technique: Oil on panel\Signature: Not signed\Dimensions: 70_12_80_cm
Circle of Felice Boselli (Piacenza, 1651 - Parma, 1732) Still Life of Game Oil on wood, cm. 38 x 46. 5 Size with frame, cm. 60 x 69 x 5. NOTES: Certificate of Guarantee and Lawful Origin. Work with gilded frame (Defects) : “… The composition portrays a still life of game arranged on a table, offering a scene with a lively naturalism undoubtedly derived from Dutch and Flemish examples. The subject and the lively character of the brushstroke suggest the attribution to a talented artist who evokes the style of the works of Felice Boselli (Piacenza, 1651 - Parma, 1732) , also taking into consideration the countless similar compositions he painted. It was certainly this characteristic that brought Felice Boselli fame and fortune in collecting, and the proof is the number of similar works known, especially in the noble private collections of Piacenza and Parma, in which it must have even been an obligatory tribute to good taste and elegance adorn the walls of the dining rooms with his canvases. The rich but often truculent subjects depict slaughtered meats, gutted fish, birds, plucked chickens arranged in bulk in dark and smoky environments, where mostly stray cats or disheveled dogs often roam. Felice Boselli was an Italian painter of the Baroque period, best known as an animalist and still lifes. Son of Cristoforo, a shoemaker, and Lucia Cattaneo, little is known about his childhood. He was a painter active above all in Piacenza, from 1664 to 1669, he frequented the workshop of Michelangelo Nuvolone - brother of Giuseppe Nuvolone -, where he studied and introduced himself into the world of painting. Right in the workshop of Michelangelo Nuvolone he met Angelo Crivelli, nicknamed il Crivellone, an animalist specializing in game. Felice Boselli's style was greatly influenced by Nuvolone, even if the characteristics of his painting came from the study of still lifes by Parmigianino, as regards the figurations, and by Annibale Carracci as regards the themes. He has made more than one hundred still lifes, most of them scattered in Lombard and Emilian museums, he has also made many paintings of extracts from everyday life, quartered pigs, ox heads, hens, game, fish. The present painting presents a realistic composition of birds in the foreground. The robust brushstrokes, rich in pictorial paste in warm colors, are made brilliant in some passages by the play of light, offering the observer a concrete and living mimesis of nature in pose. These characters of style and the quality of the execution lead to a probable attribution to a painter close to or in the circle of Boselli, where there are suggestions of affinity with the production of the master from Piacenza. In comparison, we can cite countless similar creations published by Ferdinando Arisi (see Arisi, 1973) , in which we observe the same flickering, warm, one can say theatrical pictorial conduction in the best sense of the imaginary of the Baroque age. This explains the extraordinary critical and commercial success of the artist, whose canvases are cited in all the ancient inventories of the Parma and Piacenza areas by virtue of his fashion and the beauty of his works. Regarding its state of conservation, the table is in a fairly conservative state. The pictorial surface is presented in patina. We can see - in Wood's light - an oxidized varnish, with scattered restorations and some unveiling of the pictorial surface. A crackle is visible in sunlight compared to the time. There are problems of a conservative nature, such as small drops of color scattered in the table, especially in the edges, which may seem to require interventions, for further study of attribution. 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. 38 x 46. 5. The painting is sold with a recent gilded frame (dimensions approx. 60 x 69 x 5 cm, presence of defects) . ORIGIN: Coll. private PUBLICATION: Unpublished; 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, Publisher Lab_04, Marsala, (in print 2021) . 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 Certificate of Export (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 300 / € 500, all included: shipping, packaging and particular exports) .
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