Guido Cagnacci

Standard
http://17th Century
Guido CAGNACCI
Allegory of human life
[L’Allegoria della vita umana]
Unknown
Oil on canvas
110 x 86.5 cm  [HxW]
Private Collection

This Allegory of Human Life is one of the principal paintings in the career of Guido Cagnacci; it was already recognised as such during the 17th century when it was prominently displayed in the Palazzo Magnani in Bologna. When Senator Magnani commissioned Gian Gioseffo Del Sole (1654–1719) to paint a Divine Love as a companion piece, Del Sole’s effort, despite his great talent, faded to insignificance next to Cagnacci’s Allegory (Zanotti 1739, I, p. 306; Pasini 1986, pp. 255–59). Indeed, this buoyant young woman is one of the most realistic and unshamedly erotic nudes ever painted by an Italian old master.What Caravaggio http://Caravaggio had done for the male nude, Cagnacci now accomplished for the female: both painters declined to stylise their naked models. As a twenty-year-old graduate of Guido Reni’s workshop, Cagnacci had gone to Rome at the height of Caravaggio’s revolutionary influence. He was deeply impressed. Not until Courbet in the 19th century do we sense as we do in Cagnacci’s Allegory that the artist’s intention is to transform a portrait of his studio model, posed completely nude, into a work of art.The nude young woman is surrounded by symbols of time’s passage and the decay of all things. The painting would be a straightforward discourse on vanitas — replete with guttering candles, hourglass, flowers, skull, and ruined block of architecture — were it not for the serpent suspended in the air. The snake that devours its own tail to sustain its life is the ouroboros, an ancient symbol of the cyclical regeneration of life out of death. This Allegory of Human Life thus appears to be a unique proposal of an “anti-vanitas”. Instead of the standard lament that “all is for naught”, Cagnacci maintains that feminine pulchritude and fecundity are fundamental to the eternal cycle of creation. John T. Spike.

Genevieve on Twitter: "Guido Cagnacci (1601-1663), The Death of Cleopatra,  oil on canvas, ca. 1645-55… "
The Death of Cleopatra, 1645-55
Per più informazioni leggi qui: https://www.tuttartpitturasculturapoesiamusica.com/2019/12/guido-cagnacci-death-of-cleopatra-1645.html© Tutt’Art@ | Pittura * Scultura * Poesia * Musica |
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Guido Cagnacci | The Death of Cleopatra, 1645-55 | Tutt'Art@ | Pittura •  Scultura • Poesia • Musica
details
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The painting from the 17th and 18th century in Italy has always fascinated me. There are lots of beautiful Masterworks, which we find them fabulous and admirable every time.

Here is another fascination, Guido Cagnacci. He is one of the Masters in showing inside of the soul (especially women). This inside is sinister; it comes from the dark side of the soul.
No wonder that these have often used with the quotation of Dr Carl Gustav Jung. Let’s enjoy it despite its darkness.

Guido Cagnacci (1601-1663), attribuito a - Suicidio di Lucrezia -  Antiquariato e Dipinti Antichi - Cambi Casa d'Aste
attribuito a Suicidio di Lucrezia
http://www.cambiaste.com

Guido Cagnacci was an Italian painter originally from Santarcangelo di Romagna. Associated most readily with the Baroque period, his mature works are characterized by their use of chiaroscuro and their sensual subjects. He was influenced by the masters of the Bolognese School. Wikipedia

Guido Cagnacci: Hl. Maria Ägyptiaca von Engeln getragen. Kunstdruck,  Glasbild
Guido Cagnacci, Hl. Maria Ägyptiaca von Engeln getragen
http://Kunst für Alle
Guido Cagnacci - The Death of Cleopatra - WGA3757 Stock Photo - Alamy
Alamy
The Death of Cleopatra
Guido Cagnacci - Old Master Paintings 2007/04/24 - Realized price: EUR  1,380,000 - Dorotheum
Lucretia, oil on canvas, 114.5 x 112 cm, old carved frame, (Wo)
http://Dorotheum
Guido Cagnacci, St Mary Magdalen | Robilant + Voena
ST MARY MAGDALEN
Sant’Arcangelo di Romagna 1601 – 1663 Vienna
Oil on canvas
http://Robilant + Voena

Sources:

https://nga.gov.au/theitalians/detail.cfm?IRN=161279&ViewID=2

https://en.wikipedia.org/wiki/Guido_Cagnacci

7 thoughts on “Guido Cagnacci

  1. Elaine Mansfield

    Fantastic–and I’m glad he didn’t stylize his female nudes. I love the symbolism. This brings me to my disappointment that older women without perky breasts were/are almost always depicted as “witches” or hags. I hope that will change in time.

    Liked by 1 person

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