Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)
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Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)

17th century
Louis XIII style
DELIVERY
From: 38066, Riva del Garda, Italy

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    Alessandro Varotari, known as il Padovanino (Padua 1588 - Venice 1649)
    workshop/attributable
    Hercules and Onphale

    Oil on canvas (109 x 80 cm. - Framed 126 x 97 cm.)

    Full details (click HERE)

    In the proposed beautiful work illustrating the myth of Hercules and Queen Onphale, we can admire the style characteristics typical of the early 17th-century Venetian school, and in particular, the rosy hues of the flesh close to the marked black outlines of the figures lead the work convincingly to the hand of Alessandro Varotari, known as il Padovanino (Padua 1588-Venice 1648).

    The painting, which could easily be placed around the fourth decade of the seventeenth century, still adheres to the tradition of late-sixteenth-century Venetian painting, in a phase of the artist's reworking of Titianesque modes.

    His formal elegance and painterly softness are enhanced in mythological scenes such as ours, characterized by sensual and classical nudes. In many ways, these depictions are anticipatory of those that Sebastiano Ricci and Giovanni Antonio Pellegrini would produce a century later.

    The painter constructs the scene with great theatricality: the hero's mighty body lies on the ground surrendered, unarmed, while the beautiful queen, delicately crowned with pearls, expresses all her supremacy as she stands displaying the club yielded to her by Hercules.

    The intriguing iconography is based on an episode from Greek mythology (Apollodorus, Library 2.6,3), in which Hercules, the most famous hero of all time and a veteran of his legendary twelve labors, was forced at the behest of the oracle of Delphi to become the personal slave of the queen of Lydia, Onphale.

    From being a mere servant, Hercules would later become her lover, thus submitting to the magic of Eros, whom we see depicted between the two: in the painting, Hercules' submission is underscored by the fact that the hero, seated on the ground, handed the queen his club, which had become the symbolic attribute of his power, while he handed Eros the golden apples of the Hesperides.

    Padovanino's late Mannerism is expressed in the articulated relationship of tension of the bodies of all the characters involved and we can find it in numerous works by the author, including the Orpheus and Eurydice of the Galleria dell'Accademia in Venice (1), the Rape of Deianira of the John and Mable Ringling Museum of Art in Florida (2), and finally the Venus and Adonis of Colnaghi in London (3)
    1- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59706/
    2- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59734/
    3- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59733/


    ADDITIONAL INFORMATION:
    The work sold is completed by a nice antique frame and comes with a certificate of authenticity and guarantee.
    We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers.
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    Ref: 19RDLVMEBR

    Condition Very good
    Style Louis XIII style (Paintings Genre scenes, Nudes of Louis XIII style Style)
    Period 17th century (Paintings Genre scenes, Nudes 17th century)
    Country of origin Italy
    Artist Alessandro Varotari, dit le Padovanino (Padoue 1588 - Venise 1649) atelier/attribuable
    Width (cm) 126
    Height (cm) 97
    Shipping Time Ready to ship in 4-7 Business Days
    Location 38066, Riva del Garda, Italy
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