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Christ of the coin
Anton Giulio Brignole - Salt on horseback
Dying Cleopatra
Eternal Father with a little angel
The Cook
San Sebastian
Madonna and Child between Saints John the Baptist and Magdalene
Lake landscape
The living room of the Virtues of the Patries
Allegory of Autumn
The chariot of the sun with the seasons
Nativity
Madonna della Pappa
January - Ice skaters
Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
Holy Family known as the butterfly
Christ of the coin
Anton Giulio Brignole - Salt on horseback
Dying Cleopatra
Eternal Father with a little angel
The Cook
San Sebastian
Madonna and Child between Saints John the Baptist and Magdalene
Lake landscape
The living room of the Virtues of the Patries
Allegory of Autumn
The chariot of the sun with the seasons
Nativity
Madonna della Pappa
January - Ice skaters
Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
Holy Family known as the butterfly

Allegory of Autumn

Domenico Piola

Displayed in:

Red Palace

Red Palace

Via Garibaldi, 18, Genoa

Closed today: open tomorrow at 09:00

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Domenico Piola painted the vaults of the last two eastern rooms of the second noble floor of Palazzo Rosso between 1687 and 1688, as attested by the balances of payments concerning him. It is the period following his return from the trip-escape undertaken in 1684, following the French bombing of the city, which took him to various locations in Northern Italy and especially to Parma, where he was able to compare and update his way to conceive the painted space in relation to the architectural one. This experience, and, at the same time, the contact with Gregorio De Ferrari, his son-in-law and pupil, gave his language a looser lightness, especially in the practice of a lighter and less full-bodied use of color, which is associated with a taste for space. open and for the composition intended in a rotating sense. They are recognizable elements in the conception of the rooms with the allegories of Autumn and Winter, where Domenico made use of the collaboration of the plasterer Giacomo Muttone and the Bolognese quadraturist Stefano Monchi. The Autumn theme is resolved with the traditional representation of the triumph of Bacchus. The vault depicts, immersed in a clear diffused light, the god not intent, however, in wild celebrations, but rather young, beardless, caught in a moment of calm tenderness when, having arrived on the island of Naxos, he met Ariadne, abandoned there by Theseus , he fell in love with her and wanted her as his bride. The result is a painting in which the drawing as a structuring element of the image gives way to color which, through light transitions, shapes the bodies and spatial planes. The Bacchic Thiasus, animated and lively, is relegated to the margins of the composition: drunken Silenus, bacchantes, centaurs, satyrs and the animals dear to Dionysus - goats, panthers, monkeys - master lunettes and corbels with more vivid and plastic chromatic registers, in pleasant , dialoguing contrast with the vault. The beautiful gilded stucco frieze that runs along the four sides of the room, in a continuous succession of vine shoots, in addition to reaffirming the theme of the season, gives the inspiration for the decorative motif of the frame of the large mirror placed between the windows.
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Details

Title: Allegory of Autumn

Author: Domenico Piola

Date: 1686-1687

Technique: Fresco

Displayed in: Red Palace

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