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Cipper Todeschini Card Players

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Cipper Todeschini Card Players
Cipper Todeschini Card Players-1
Cipper Todeschini Card Players-2
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Detailed Description

Painting oil on canvas with dimensions of 119 x 149 without frame and 130 x 160 cm with frame depicting a scene en plen air with a dog and card players of the painter Giacomo Francesco Cipper called the Todeschini.

The different variants of this painter's signature, documented from 1705 to 1736 in Lombardy, as well as the status of "German" added to his name, suggest that he worked a lot of time in Italy as a foreigner.

On the basis of stylistic arguments and the oral tradition concerning some paintings, present as "Todeschini" in collections of Bergamo and Brescia, Lombardy is considered as the sphere of its activity, although neither in the written sources relating to these places nor in works his name has been found so far.
But this fact can be explained by the scant consideration in which, by scholars oriented mostly in the academic sense, were generally held the painters of the "lower art" to which the Cipper exclusively oriented.
His numerous preserved paintings, of which there are also replicas partly due to his feeble imitators, testify to the favor he enjoyed among the clients.

The work of Cipper, for what we know so far, consists exclusively of genre scenes, mostly with large-format backgrounds, often with half-length or three-quarter full-length characters.
The environment and the background are neglected by choice, and the spatial relationships between people and objects are not clear.
The exaggerated characterization of the figures is a typical characteristic of our painter who loves trivial and popular representations engaged in various occupations such as eating and drinking (alone, in two or in groups of more people), but also with other thematic elements such as musicians, often flute players, card players or morra players, litigants, beggars, mother with child, and so on.
The figures, which present themselves to the observer as on a stage with their poor and patched clothes, do not want to provoke compassion for their desolate condition, but rather to amuse them.

This manifests itself above all with the expression grinning, contracted or clever. Very strong is the contrast with the figures of Ceruti that almost always give off a certain melancholy.
The painter does not pursue a psychological investigation. In the style of the Cipper predominate Nordic elements: next to the Dutch thread (Frans Hals, Leonard Bramer, Adriaen Brouwer, Pseudo van de Venne), probably mediated by Monsù Bernardo, some young scholars find references to German painters like Christopher Paudiss, Matthias Scheits, Gottfried Libalt and Salomon Adler also active in Italy.
Apart from the theme, unusual for Italy, the representation of interiors (even vaguely defined) and the degree of realism of physiognomic traits are to be considered Nordic elements.

This canvas is most likely painted in his mature period a few years after his arrival in Italy, so probably between the years 15/25 of the '700 has a more clear and varied color, a softened plasticity and a precise design, almost dry, which goes probably justified with the influence suffered by Bellotti.
The compositions become richer and more complicated, mostly full-body groups are placed in a rather extensive space that is moreover like an indeterminate scenography, neither internal nor landscape, thus allowing the painter to avoid the perspective representation. The most polished and striking style is a sign of the influence of Antonio Amorosi. Numerous pairs or series of paintings bear witness to the remarkable success of the Cipper's genre paintings just arrived in Italy.

This representation, like his other works, is not immune to a good dose of irony, while in his creative path Il Cipper renews the seventeenth-century tradition of Bamboccianti and re-reads in a very personal way the examples of Monsù Bernardo and the Magnasco with the exceedingly successful ambition of transposing his ideas with a 'monumental' spirit, devoting himself to a realistic definition of everyday objects, foods and household goods.

In this painting, the subjects belong to the popular class.
The painting contains facets that Cipper demonstrates to be able to lead with skill and observation, in symbiosis with a vibrant and quick brushstroke, reaching an excellent quality level.
The complex scene in the foreground, as well as the splendid representation of the dog with those ears so large and almost plastic, perhaps the true signature of the painter in this painting, is surprising for the attention of the chromatic and luminous relationships between the various elements and for the accurate anatomical precision of the details.

Among the main examples, which have the same style of our painting, we should mention The grinder and the gypsy zingara of the Joanneum of Graz; the Gypsy Concert, with many figures, from the Peloso collection in Novi Ligure (signed "Jacob Frances Zipper pinxit"), where the conductor presents an often recurring attitude in the paintings of the Cipper .; the genre scene of the Hermitage of Leningrad, in which the woman who wrecks the fish and the splendid still life of seafood recall the picture in the Museum of Auxerre and the two pendants with card players and players of morra. private collection in Budapest.

This item , like all our objects, is sold accompanied by a certificate of photographic authenticity; this document identifies the object by adding more value to the article.
We take care and personally organize the packaging and shipping of our items with insurance all over the world.

Mr. Riccardo Moneghini
Old Master Paintings Expert - Court Expert

antique dealer

Riccardo Moneghini Sanremo, Via privata f.lli Asquasciati 88 (Sanremo - Italy)

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