Baldassare Aloisi Galanini Sold at Auction Prices

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    • BALDASSARRE ALOISI detto IL GALANINO (attr. a)
      Mar. 05, 2020

      BALDASSARRE ALOISI detto IL GALANINO (attr. a)

      Est: €800 - €1,200

      (Bologna, 1577 - Roma, 1638) Ritratto di Santo Martire Olio su tela, cm 83X64 Nato a Bologna e, secondo le fonti, allievo dei Carracci, Galanino esordisce dipingendo l'Allegoria dei Tre fiumi per il funerale di Agostino (1602) e la Madonna col Bambino e i Santi Giovanni Battista e Francesco per la chiesa di San Paolo in Monte oggi custodita nella Pinacoteca Nazionale di Bologna, in cui è evidente l'influenza di Ludovico. Nel 1607 lo sappiamo attivo a Roma sempre attivo in ambito carraccesco ma altresì influenzato dal naturalismo del Merisi, realizzando ad esempio due redazioni tratte dal David di Caravaggio (cfr. C. Strinati, Quesiti Caravaggeschi, in Caravaggio a Roma una vita dal vero, catalogo della mostra a cura di M. Di Savio e O. Verdi, Roma 2011, p. 28).

      Wannenes Art Auctions
    • BALDASSARRE ALOISI, known as “Il Galanino” (attr.) Judith and Holofernes
      Jun. 30, 2015

      BALDASSARRE ALOISI, known as “Il Galanino” (attr.) Judith and Holofernes

      Est: £36,000 - £42,000

      BALDASSARRE ALOISI, known as “Il Galanino” (attr.) Judith and Holofernes Oil on canvas This painting, with its rapid, smooth application of paint, betrays a grasp of colour which, while occasionally lacking in polish, is nevertheless very effective. We would argue that it is by a Caravaggesque master and that it may be dated to some time before the end of the 1630s. It is complex to decipher because it does not fit neatly into any one of the identifiable categories in the context of known early 17th century approaches to naturalism. This prompts us to suggest that it may well be the work of a copyist, thus an artist who would tend to dip into and to blend a variety of different styles, which is exactly what we see in this painting. Some of the features are pure Caravaggio, such as the old servant observing the scene in the background, with her vivid sense of realism and colour. While the figure of Judith, on the other hand, is considerably less intense, tending towards a more classicising style and to the display of more decorative details, such as the blue ribbon in her hair or her precious earrings. These features could well point us in the direction of Baldassarre Aloisi, known as “Il Galanino”, an artist from Bologna who settled in Rome and Naples – in which latter city he was the official copyist to the court, tasked by Viceroy Pedro Fernàndez de Castro, Count of Lemos, with copying the works of Caravaggio. Two interesting comparisons may be made with a Portrait of Antonio Bruzio in the church of Sant’Agostino in Rome, and with an altarpiece depicting The Virgin Helping Christ To Carry Cross in the church of St. Sulpice in Paris, published by Monique de Savignac in 1987 (see M. De Savignac, Un tableau de Baldassarre Aloisi dit le Galanino dans une église de Paris: la Vierge aidant le Christ à porter sa Croix, in Paragone, XXXVIII, NS, 1, 443, 1987, pp. 38–41). The painting is in an excellent state of conservation. 180 x 130 cm

      Bertolami Fine Art s.r.l.
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