Domenico Fiasella (1589-1669), attribuito - Autoritratto

Ancient painting, oil on canvas, from the 17th century, depicting a self-portrait of the artist Domenico Fiasella (Sarzana, 1589 - Genoa, 1669) .
\r
We thank Prof. Camillo Manzitti for suggesting the attribution after examining high-resolution digital photographs.
\r
Domenico Fiasella was born in Sarzana in 1589. His training began with Aurelio Lomi, approaching Tuscan painting. The key episode of his education was his stay in Rome between 1606 and 1616, which allowed him to learn about Roman figurative culture and the productions of numerous artists, including Michelangelo Merisi da Caravaggio and Guido Reni. These two painters will be a source of inspiration for all subsequent artistic production.
In March 1616 he returned to Sarzana, where he created his first significant religious-themed works. Shortly after 1625 he was called by Giacomo Lomellini to create the fresco decorations of Palazzo Lomellini-Patrone, today located in Largo Zecca 2. The Lomellini cycle, in which Giovanni and Giovanni Battista Carlone also intervene, is the largest work on the wall of Fiasella, as well as the most extensive and complex. From 1630 onwards Fiasella was one of the most sought after and paid painters in the city and he was assigned numerous public tasks, creating part of the city's public image.
From 1640 onwards his workshop became a point of reference for young Genoese people who wanted to dedicate themselves to painting: among his students we can mention Valerio Castello and Gregorio De Ferrari.
He died in Genoa on 19 October 1669.
\r
As suggested by Prof. Manzitti, our canvas appears to be a self-portrait of the artist, whose physiognomic features compare well with an ancient printed reproduction sold on the auction market and with the painter's face visible in the painting "The Vestition of Santa Chiara", 1648, Sarzana, Diocesan Museum.
\r
In fairly good general condition considering the age of the painting, some scattered restoration points can be seen, as well as some unraveling and cracking of the pictorial surface, as visible in the photos.
The pictorial film seems to have undergone some ancient cleaning with impoverishment of the same. Furthermore, the painting may have undergone a reduction in size, as the left hand of the character interrupted on the right side also seems to suggest.
Some repentances are noted, such as the macroscopic movement of the right hand.
There are no conservation problems and the original canvas has a relining that does not appear to require intervention. A fine crackle is visible in relation to the era. The frame appears to have been replaced at the time of the relining.
\r
Measurements of the painting: 88 x 65 cm
\r
Work accompanied by a certificate of photographic authenticity, as per current legislation.
\r
Shipping via insured express courier and packaging carried out with the utmost care.