All the oil paintings of MAGNASCO, Alessandro

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ID	Image	Painting(From A to Z)	Details
8028		Annunciation (detail) sg	c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
8029		Annunciation (detail) sg	c. 1482 Fresco Loggia del Comune, Collegiata, San Gimignano
41058		Bacchanalia	mk159 1710s Oil on canvas 110.5x167.5cm
32372		Bacchanalian Scene	1710s Oil on canvas, 110,5 x 167,5 cm
19245		Bandits' Stopping Place	1710s Oil on canvas The Hermitage, St. Petersburg.
28342		Bandits'Stopping-place	mk60 Oil on canvas 44x64"
32376		Christ Adored by Two Nuns	c. 1715 Oil on canvas, 58 x 43 cm
28677		Christ Served by Angels	mk61 c.1730 Oil on canvas 193x142cm
51198		Entombment of a Soldier	Oil on canvas Civici Musei
31353		Halt of the Brigands	nn07 1710s Oil on canvas, 112 x 162 cm The Hermitage, St. Petersburg
52227		Interrogations in Jail	c. 1710 Oil on canvas
20503		Landscape with a Man Moving a barrel beside the Shore (mk05)	Canvas,45 x 80''(114 x 203 cm)Given in 1939
28407		Mountainous Landscape	mk60 1720s Oil on canvas 62x83"
51192		Praying Monks	Oil on canvas, 53,6 x 43,9 cm
63842		Praying Monks - Oil on canvas	53,6 x 43,9 cm Museum voor Schone Kunsten, Ghent Praying Monks by Alessandro Magnasco is a good example of the brilliant sketching technique of this Italian artist, who was a transitional figure between the Baroque and Rococo. The impassioned figures are rendered against a dark and threatening background with rapid, irregular brushstrokes. Isolated and ecstatic monks and hermits often feature in the macabre scenes through which Magnasco conveyed his fantastic and critical vision of humanity. The emotional turbulence of his work was not unique in the Italian Baroque and Rococo, but it was certainly something of an extreme example.Artist:MAGNASCO, Alessandro Title: Praying Monks Painted in 1701-1750 , Italian - - painting : religious
19246		Sacreligious Robbery	1731 Oil on canvas Quadreria arcivescovile, Milan.
51215		Sacrilegious Robbery	1731 Oil on canvas
33787		Seascape with Fishermen and Bathers	mk86 undated Oil on canvas 115x92cm Venice
21910		Seascape with Fishermen and Bathers (mk08)	Oil on canvas, 115x92cm Venice,Private Collection
28406		Seashore	mk60 1720 Oil on canvas 62x83"
52201		Storm at the Sea	Oil on canvas
29979		The Gypsies'Meal	mk67 Oil on canvas 22 1/16x27 15/16in Uffizi
20493		THe Gypsies'Wedding Feast (mk05)	Canvas,34 x 47''(86 x 119 cm)Given in 1927
52232		The Observant Friars in the Refectory	1736-37 Oil on canvas
32388		The Seashore	c. 1700 Oil on canvas, 158 x 211 cm
33788		The Wise Raven	mk86 c.1703-1711 Oil on canvas 47x61cm Florence,Galleria degli Uffizi.
21911		The Wise Raven (mk08)	c.1703-1711 Oil oncavans 47x61cm Florence,Galleria degli Uffizi
51213		Three Camaldolite Monks at Prayer	1713-14 Oil on canvas
51214		Three Capuchin Friars Meditating in their Hermitage	1713-14 Oil on canvas
29978		Training the Magpie	mk67 Oil on canvas 18 5/16x23 13/16in Uffizi,

MAGNASCO, Alessandro
Italian Rococo Era Painter, 1667-1749 Painter and draughtsman, son of (1) Stefano Magnasco. He did not study with his father, who died when he was a small child. He went to Milan, probably between 1681 and 1682, and entered the workshop of Filippo Abbiati (1640-1715). His Christ Carrying the Cross (Vitali, priv. col., see Franchini Guelfi, 1987, fig. 238) faithfully repeats the subject and composition of Abbiati's painting of the same subject (Pavia, Pin. Malaspina). Alessandro Magnasco's early works were influenced by the harsh and dramatic art of 17th-century Lombardy, with dramatic contrasts of light and dark and livid, earthy tones, far removed from the bright, glowing colours of contemporary Genoese painting. The depiction of extreme emotion in the St Francis in Ecstasy (Genoa, Gal. Pal. Bianco) was inspired by Francesco Cairo's Dream of Elijah (Milan, S Antonio Abate). However, Magnasco was already expressing himself in a very personal manner, with forms fragmented by swift brushstrokes and darting flashes of light. The Quaker Meeting (1695; ex-Vigan? priv. col., see Franchini Guelfi, 1991, no. 18) is one of his first genre scenes. In this early period he specialized as a figurista, creating small human figures to be inserted in the landscapes and architectural settings of other painters. He also began collaborating with the landscape painter Antonio Francesco Peruzzini, with a specialist in perspective effects,