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PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728)."The Rape of Persephone", c. 1705-1710.Oil on
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Beschreibung
PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728).
"The Rape of Persephone", c. 1705-1710.
Oil on canvas. Relined.
Authorship confirmed by Nicola Espinosa.
Size: 45 x 58,5 cm; 52 x 72 cm (frame).
The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures.
Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
"The Rape of Persephone", c. 1705-1710.
Oil on canvas. Relined.
Authorship confirmed by Nicola Espinosa.
Size: 45 x 58,5 cm; 52 x 72 cm (frame).
The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures.
Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
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PAOLO DE MATTEIS (Salerno, Naples, 1662 - 1728).
"The Rape of Persephone", c. 1705-1710.
Oil on canvas. Relined.
Authorship confirmed by Nicola Espinosa.
Size: 45 x 58,5 cm; 52 x 72 cm (frame).
The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures.
Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
"The Rape of Persephone", c. 1705-1710.
Oil on canvas. Relined.
Authorship confirmed by Nicola Espinosa.
Size: 45 x 58,5 cm; 52 x 72 cm (frame).
The work puts in scene one of the most popular stories of the classical mythology: The abduction of Persephone. The abduction or abduction of Persephone by Hades is briefly mentioned in Hesiod's Theogony, and is recounted in considerable detail in the Homeric Hymn to Demeter. Zeus, it is said, allowed Hades, who was in love with the beautiful Persephone, to abduct her, since it was unlikely that her mother, Demeter, would allow her daughter to descend into Hades. Persephone was gathering flowers with the Oceanides along with Artemis and Pallas, daughter of Triton, as the Homeric Hymn says, in a field when Hades came to abduct her, bursting through a cleft in the earth. Demeter, when she discovered that her daughter was missing, searched the earth for her with the torches of Hecate. In most versions, she forbids the earth to produce, or neglects it and, in the depths of her despair, causes nothing to grow. Helios, the all-seeing sun, finally told Demeter what had happened and revealed to her the place of his abode. Finally, Zeus, pressured by the cries of the starving people and by the other deities who also heard their anguish, forced Hades to return Persephone. Hades complies, but first he tricks Persephone, giving her some pomegranate seeds to eat. Hermes is sent to fetch her, but, because she had tasted the food of the underworld, she was forced to spend a third of each there. This piece reflects to a large extent the aridity in the landscape, which the abduction of Persephone entails. The artist has drawn on the classical texts in an attempt to be faithful in his pictorial conception of the myth. Despite the aforementioned sobriety of the landscape, the work retains a great deal of dynamism and expressiveness that comes from the distinctly Baroque cross-shaped composition of the two main figures.
Due to the type of composition and in particular the chromatic range used, this work belongs to the production of the Italian artist Paolo de Matteis. He trained academically with the master Francesco di Maria in Naples and later with Luca Giordano. From 1702 to 1705 de 'Matteis worked in Paris, Calabria and Genoa. Between 1723 and 1725, de 'Matteis lived in Rome, where he was commissioned by Pope Innocent XIII. During this period he had as pupils various personalities such as Ignatius de Oliveira, Bernardes Peresi and members of the Sarnelli family, Giuseppe Mastroleo, Giovanni Pandozzi, and Nicolas de Filippis. Today his work can be found in important private collections and in numerous important institutions, including the Capodimonte Museum (Italy), the Getty Museum in California (USA), and the National Gallery of Urbino (Italy).
9th March - Old Masters
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