Pierre Roumier (1680-1732)

Features

Description

From the analysis of this painting shows clearly the work center and the era. Full membership in it affects the natural data, which has its roots in the Lombard tradition, but especially in portraiture located in Bergamo-Brescia ideal acceptance and development. Intuition which has already been expressed by Lao with the exhibition "the painters of reality", based exclusively on the production of this area. The splendid portraits of Moroni to producing Fra Galgario runs a line of continuity in which we can insert our painting with certainty. And just to Vittore Ghislandi, said Fra Galgario, runs our thinking in reading the scripture of portrait, in which, with quick touches and Pasty products the author proceeds to a precise and relentless, totally devoid of any psychological idealization or ceremonial attitude, able to grasp even the narrow mindedness of the human soul, novelty compared to previous production five-17th century. Ghislandi lacks brilliance of touch that makes it unique. It is then very convincing the previous attribution to Pierre Roumier, French painter born in Carcassonne, and who flourished in the first decades of the ' 700 in Bergamo and Brescia. In those years the majority of large production portraiture was entrusted to painters "Federer", mostly Venetians, together with some French. Including the Roumier worked, and certainly also in collaboration with Scott, as the two works in pendant "portrait of a gentleman of the House Fast and Ghislandi" performed by the "portrait of Clara Baek Finardi" signed and dated 1710 retro Roumier. The painting was restored and ritelato, and is presented in nineteenth-century-style frame.

Product Condition:
Portrait of a gentleman

Frame Size (cm):
Height: 99
Width: 85

Artwork dimensions (cm):
Height: 73
Width: 59