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PISAVA
VELIKOST

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VELIKE/MALE
STIL
Permanent Collection

1600–1700

Matteo Ghidoni

(Padua?, c. 1626 – Padua, 1689)

An Armed Robbery
17th Century, oil, canvas, 75 x 120 cm

NG S 2103, National Gallery of Slovenia, Ljubljana
On the second canvas we see a dark, rocky landscape in which robbers have held up a group of travellers. On the left some disreputable people are searching a gentleman and his wife, others are plundering a light chaise. In the background a coach is being robbed and from the right other robbers are hurrying to the scene. In the background too we see groups of robbers on both sides; their herd is gathered in the right corner near the skeleton of a horse.

The paintings (cat. nos 16 and 17) are masterly works, rich in various episodes, and can be attributed to Matteo de’ Pitocchi not least because of the echoes of Callot’s prints, which can always be sensed when we look at Pitocchi’s work. Of particular interest is the scenographic effect, which is almost theatrical; the backgrounds and the animation of some of the groups also bring to mind, beside their Venetian accents, the Roman bamboccianti. Two canvases very similar to ours (both measuring 37 x 87 cm) were sold in Rome (Christie’s, 22 March 1988, Auction No. 158) as works of the little known Ernest Deret. Our two paintings probably date from a not very late creative period of Matteo de’ Pitocchi.

Preservation: Good. The painting was once cut at the edges.
Restored: 1991, Kemal Selmanović.
Provenance: Unknown. On the back of the relined canvas is a stamp: DOGANA / E. T. / VOLOSCA, on a label an inscription in ink: Attribuito: Jean Asselijn / nato a Diepen 1610, morto Amsterdam 1660. / Ollandese, scolaro e seguace di / Berchem e Both. / Ha lavorato diversi anni i(n) Italia / Roma e Genova. Opere del suo penello si trovano / nei musei di Roma, Genova, Dresden, / Berlino, Vienna. – Government of Slovenia, hung in a corridor in Brdo Castle near Kranj; transferred to the Narodna galerija in 1986.
Exhibitions: 1960, Ljubljana, No. 109; 1993, Ljubljana, No. 27.
Lit.: Cevc 1960, p. 40, Cat. No. 109 (Jan Asselijn (Aslein), called Krabbetje: Scene from the Dutch Revolt (?) I); Zeri and Rozman 1993, pp. 106, 146–147, Cat. No. 27, Fig. 22; Da Caravaggio, 1998, p. 479 (text Silvia A. Colombo).

From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.