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Antonio Marinoni
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Antonio Marinoni
Antonio Marinoni
Arriving in Rome towards the end of 1821 Marinoni was tied to the intellectual Roman represented by Antonio Canova and by Leopoldo Cicognara . Introduced by the importance of relationships , the painter attended two years of study by the Flemish Martin Verstappen , which enriched the tradition of classical landscape painter , Claude Lorrain derived from , the comparison with the real analytically studied in every detail.
Already in 1822 Marinoni began his travels in Naples , perhaps unequaled in the area iconographic ideas that might suggest . Moreover, thanks to the examples provided by Anton Sminck van Pitloo , by Frans Vervloet and especially by Giacinto Gigante began to exceed the minutia Flemish in his report from true in virtue of a new looseness of the brushstroke and an innovative supplier of the atmosphere.
To underline the episode of his contributions to the Journey pictorial in the Kingdom of the Two Sicilies , published by the typography Cuciniello Domenico and Lorenzo Bianchi between 1828 and 1834 , thanks to which the knowledge is perfected with Giacinto Gigante – please note that Giant created 32 tables Marinoni and well over 29 180 Total – both the places of the canons of the Grand Tour in southern Italy. Then since 1853 the Bassano master abandoned painting for health problems.
La Grotta dei Cappuccini from the beach of Marinella , dating from around 1830 , is poignantly in the maturity achieved by the artist in landscape painting. From a compositional point of view the balance of the frame is reminiscent of the similar subject by Raffaele Carelli and Salomon Corrodi ( Ricciardi , 1998, pp . 212-213 ) and then the image becomes like these among the most beautiful ever made of the place .
The memory of the golden atmosphere of lorrainiana memory inherited by Verstappen , and in part by the same Vervloet , has already entered the second floor. In their place a fineness of perception really surprising , inevitably conditioned by visits with Giant, and a tonal painting that brings to mind the contemporary research Camille Corot , not exactly the case in Naples between 1828 and 1829 .
