Giuseppe Bernardino Bison (attribution) - Ruins

The work has been attributed to Giuseppe Bernardino Bison, who can be considered a continuation of the Vedutismo tradition. Vedutismo originated in the 18th century and developed primarily in Venice. Vedutismo painters aimed to represent a landscape objectively and scientifically, placing it as the protagonist of the work. There are essentially two types of vedute: the realistic one, taken exactly from reality, and the "capriccio," a fanciful view invented by the painter. In the case of this work, the subject is inspired by a romantic and picturesque view, combining the evocative quality of ruins with an Edenic pastoral scene.

The work, attributed to Giuseppe Bernardino Bison, has a more sketchy character than the Friulian artist's official output. This attribution, therefore, would reveal an unusual side of Bison, more spontaneous and instinctive than his balanced and rational compositions. The strokes used to depict this small pastoral scene are rapid, and the forms come to life with a few quick strokes. There is, in short, a prevailing impressionistic quality, indicating the desire to create a work fully in keeping with the Venetian tonalist tradition. Color, in fact, predominates, both in the description of space, through subtle variations, and in the recording of all the vibrations of light.

This work has been attributed to Giuseppe Bernardino Bison (Palmanova, 1762 – Milan, 1844). After moving with his family to Brescia, he studied drawing with the painter Gerolamo Romani, and then moved with his family to Venice. In the lagoon city, he studied with the figure drawing professor Costantino Sedini (Cedini). In Venice, he became friends with the architect Giannantonio Selva, so much so that he followed him to Ferrara in 1787, receiving the commission to decorate Palazzo Bottoni. In the same year, Giuseppe Bernardino Bison is also documented in Padua following the set designer Antonio Mauro, from whom he would inherit an interest in the classical architecture painted by Antonio Visentini and with whom he collaborated on the construction of the theatre of the Marquises Obizzi. Also in Padua, the decoration of Palazzo Maffetti-Manzoni is documented in 1792, where his adherence to a classicist repertoire contaminated by eighteenth-century reminiscences will now be affirmed and, after 1793, he will be active in the Treviso area, where he will fresco the vault of the Church of Sant'Andrea in Venegazzù, the oratory of Villa Bragadin in Ceggia and the decorations in the villas, Raspi di Lancenigo and Spineda in Breda di Piave.

The transaction takes place with maximum security for both the seller and the buyer. We take care of the conformity (provenance, authenticity, state of conservation) of the work and handle the shipping.
Returns are possible no later than 14 days after receiving the order.