All CASTIGLIONE, Giovanni Benedetto Oil Paintings

Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.
 
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CASTIGLIONE, Giovanni Benedetto Entrada dos Animais na Arca de Noe oil on canvas


Entrada dos Animais na Arca de Noe
Entrada dos Animais na Arca de Noe
Painting ID::  77480 		  1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. Date 1650 - 1664 cyf
  1650-64. Óleo sobre tela, 150 x 221 cm. Acervo do Museu Nacional de Belas Artes, Rio de Janeiro, Brasil. Date 1650 - 1664 cyf

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     CASTIGLIONE, Giovanni Benedetto
     Italian Baroque Era Painter, ca.1609-1664 Painter, printmaker and draughtsman. Most of his works are scenes of the journeys of the patriarchs (e.g. Noah, Abraham, Isaac, Jacob), drawn from the book of Genesis and filled with animals and still-life detail. His oeuvre also, however, includes many spectacular mythological and religious compositions set in expansive landscapes, and for these he found inspiration in Classical mythology, ancient history, Aesop's Fables, 16th-century Italian literature and the lives of the saints. Early biographers claim that he was also a prolific portrait painter, but few examples, save the so-called portrait of Gianlorenzo Bernini (c. 1648-50; Genoa, Pal. Bianco), have been conclusively identified. His surviving subjects reveal his interest in magic and metamorphosis and in philosophical questions such as the frailty of human life, the inevitability of death and the search for truth.

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