Domenico Parodi (Genoa, 1672 – 1742)
Portrait of Anna Maria d'Orléans (Château de Saint-Cloud, 27 August 1669 – Turin, 26 August 1728), first queen consort of Sardinia and maternal grandmother of Louis XV of France
Oil on oval canvas
75 x 58 cm. - Framed 88 x 72 cm.
The painting portrays a young noblewoman, identifiable as Anna Maria d'Orléans (St. Cloud 27 August 1669 - Turin 26 August 1728), daughter of Philippe d'Orléans (brother of Louis XIV), who later married Victor Amadeus II of Savoy in 1684.
The noblewoman, immortalized in half-length with a winking expression of a smile, is richly dressed in a blue dress decorated along the wide neckline with white lace, embellished with numerous details/jewelry, and is wrapped in a iridescent red cloak.
For iconographic comparisons, reference is made to a canvas in the Royal Palace, published in the catalog of the "Royales effiges" exhibition in Chambéry (see exhibition catalog, Chambéry 1985-1986, p. 25), to a full-length portrait kept in Racconigi (see Noemi Gabrielli, "Racconigi", Turin 1972, p. 202;) and to an oval in the Galleria Sabauda (in M. L. Moncassoli Tibone, "Portraits for a King. Vittorio Amedeo II from history to image", Turin 1991, p. 17).
The absence of royal insignia does not allow us to circumscribe the dating, even if we can assume that the work was created in the first decades of the eighteenth century.
Given the stylistic characteristics, the painting is, in our opinion, a work attributable to Domenico Parodi, one of the best Italian portrait painters between the end of the seventeenth century and the first half of the eighteenth century who, as emerges from our effigy, orders his art according to the most common French models, fully falling into the genre of portrait ''à la française'', inaugurated by Hyacinthe Rigaud at the beginning of the 18th century, known thanks to numerous copies and engravings.
It should in fact be remembered that the intense cultural exchange between France and Italy led the Italian nobility to nurture a profound admiration for the pictorial taste imported from France, especially between the first and second decades of the eighteenth century, becoming an essential model for authors like Parodi.
ADDITIONAL INFORMATION:
The work is completed by a pleasant gilded frame and is sold with a certificate of authenticity and guarantee.
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