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Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds
Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds

Adoration of the shepherds

Antonio Travi, detto il Sestri

Displayed in:

White Palace

White Palace

Via Garibaldi, 11, Genoa

Closed now: open at 09:00

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A native of Sestri Ponente, then a small autonomous village on the sea west of Genoa, Antonio Travi chose the landscape genre as a privileged field of his artistic creation in the middle of the seventeenth century, placing himself at the attention of the noble client of the Republic for his rustic views populated by figurines dressed in humble clothes and intent on daily occupations: fishermen, shepherds or wayfarers are placed next to houses in ruins, anticipating the picturesque genre of the following century. Travi trained in the workshop of Bernardo Strozzi, Travi derives from the master the evidence of the brushstroke and the love for color, differing however from the Cappuccino for a clarity and precision that looks to the Flemish active in Genoa and has a particular reference in the German Goffredo Waals, passing through the city in 1623 and present in various collections of the local aristocracy. The wide open spaces on the sky of Travi's paintings thus light up with an adamantine sheen rendered with subtle veils, albeit sometimes crossed by clouds with a more material trait. The same popular everyday life of his genre subjects also characterizes the paintings with a sacred theme, always dominated by an order and clarity of the composition that infuses a sovereign calm in the environment represented. The Adoration of the Shepherds of Palazzo Bianco stands out, within the artist's catalog, for the decisive foreground adopted and for the imposing of the numerous figures against the background; typical of his palette are the accurate chromatic accords and the studied insertion of brighter colors on the basic tones of earths and whites, subtly modulated. Certainly we also find in this work, although so crowded with figures, that feeling of "profound contemplation" and that "poetic of long silences" that critics recognize the artist. A more grotesque realism emerges only in the three figures under the arch on the right of the canvas, which are reminiscent of Nordic genre painting.
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Title: Adoration of the shepherds

Author: Antonio Travi, detto il Sestri

Date: 1625

Technique:

Displayed in: White Palace

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