Giuseppe Maria Crespi (1665-1747), Attributed to - Flora





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Master in early Renaissance Italian painting with internship at Sotheby’s and 15 years' experience.
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Description from the seller
Oil on canvas.
Dim: 60 x 47 cm without frame.
Old frame.
Giuseppe Maria Crespi ranks among those Italian painters still influenced by Caravaggism. The model he portrays here is captured in a strong chiaroscuro, where luminous flesh tones contrast vividly with a deep brown background. This play of shadows and lights enhances the sensuality emanating from the scene. The grace of the figure, accentuated by a slight sway, draws its origins from Renaissance Italian mannerism and adds a fleshy touch to the composition.
This feeling is extended by the fluid movement of the right arm, which accompanies the harmonious curves of Flora. The goddess of poetry par excellence, Flora has repeatedly inspired the artist, as evidenced by other well-known works depicting her. Here, Crespi chooses to paint this Roman goddess of fertility and spring in an intimate scene, treated with simplicity and chromatic sobriety.
However, this composition can also invite a more spiritual reading. For beyond the apparent sensuality, the kneeling posture of the young woman recalls the humility of pious figures, such as Saint Mary Magdalene renouncing the vanities of the world. Crespi thus blends subtle religious nuance and profane sensuality with great finesse.
Oil on canvas.
Dim: 60 x 47 cm without frame.
Old frame.
Giuseppe Maria Crespi ranks among those Italian painters still influenced by Caravaggism. The model he portrays here is captured in a strong chiaroscuro, where luminous flesh tones contrast vividly with a deep brown background. This play of shadows and lights enhances the sensuality emanating from the scene. The grace of the figure, accentuated by a slight sway, draws its origins from Renaissance Italian mannerism and adds a fleshy touch to the composition.
This feeling is extended by the fluid movement of the right arm, which accompanies the harmonious curves of Flora. The goddess of poetry par excellence, Flora has repeatedly inspired the artist, as evidenced by other well-known works depicting her. Here, Crespi chooses to paint this Roman goddess of fertility and spring in an intimate scene, treated with simplicity and chromatic sobriety.
However, this composition can also invite a more spiritual reading. For beyond the apparent sensuality, the kneeling posture of the young woman recalls the humility of pious figures, such as Saint Mary Magdalene renouncing the vanities of the world. Crespi thus blends subtle religious nuance and profane sensuality with great finesse.
