The Animals Entering Noah’s Ark 17th Century Veneto Master Painting
The Animals entering Noah’ s Ark a large size, unpublished Italian oil on canvas painting realized in the first half of 17th century by a Veneto Master.
The painting, inspired by the story of the Flood contained in Genesis, depicts the gathering of animals ready to enter the ark built by Noah, according to the divine will, to preserve the righteous man, his family and a couple of all living animals from the punitive destruction of the flood.
The biblical text offers the artist the opportunity to describe a large genre scene set in the landscape whose protagonists are animals.
The adoption of a raised point of view, allows the eye to travel through the variety of the animal world, whose multitude connotes the earth and the sky, up to the landscape, characterized by the rich foliage of trees, which lead to buildings with towers overlooking a stretch of water, up to the blue of the mountains in the background and the sky with soft pink clouds.
The artist of the painting, a Veneto Master active in the first half of the 17th century, arranges both human and animal protagonists in a simplified natural environment, in order to represent the moltitude of the animal world, known by contemporaries, in a usual landscape for the client, the Venetian hinterland.
The descriptive intent is achieved by operating a rational organization of the figural elements, in order to govern multiplicity.
The figurative result is a rich bestiary animated by five characters. The composition of the painting is in fact dominated by imaginary representations, even fantastic ones, of animals such as unicorns, elephants, lionesses and more domestic species such as hares, lambs, horses, deer, cows and dogs.
The painting dates back to 1600, of Veneto origin and comes from a Lombard private collection.
Set in a 17th century wooden frame with a modern ivory color fauve marble lacquering, it is in good condition thanks to a conservative restoration, the canvas painting has been relined in the past.
height: 132 (105) cm
width: 182 (156) cm
depth: 5 cm
A large mountain landscape, an early 20th century oil on canvas painting depicting a mountain scenery, the Monte Rosa massif, in the Piedmont Alps, with snowy mountains on the background, a rural farm and some cows in valley in the foreground; signed lower left S. Poma (Trescore Balneario, 1840 – Turate, 1932), one of the most relevant landscape painters of late 19th century Lombard Verismo.
The Verismo (meaning "realism", from Italian vero, meaning "true") refers to a 19th-century Italian painting style. This Italian term implies extreme raw realism, without any interpretation.
This peaceful mountain and valley view comes from a private collection of a Milanese family, it showed a small canvas tear, as per detailed picture below, now restored. Set within a passe-partout and a giltwood frame, it is now in good age related condition, with some small canvas tears on the border, which could be restored relining an reinforcing the original canvas only. Anyway you do not see them since covered by the frame.
About the artist:
Silvio Poma, Trescore Balneario, Bergamo, 1840 - Turate , Como, 1932 Having served as a volunteer in the second war of independence, Poma embarked on a military career but retired from the army in 1866 after contracting malaria. On his return to Milan, he worked in the studios of the soldier-painters Giovan Battista Lelli and Gerolamo Induno, his comrades in the military campaign of 1859. He made his debut at the Esposizione di Belle Arti di Brera of 1869 but received no official recognition until halfway through the following decade. A painting of a historical subject in a broad natural setting of Romantic character won the Mylius Prize
of the Brera Academy of Fine Arts in 1876 and a landscape exhibited in Naples at the Esposizione Nazionale di Napoli was bought by Vittorio Emanuele II in 1877. Poma established his reputation as a landscape painter with a repertoire of lake views that are intimist in character while also displaying the influence of his contemporary Filippo Carcano in their realistic approach. The period from 1883 on saw an increase in activity with the systematic presentation of works at national exhibitions and lasting success on the art market.