Tomilina написал:
[q]
приписывается кисти Франческо Наричи (я даже не слышала о таком. ) [/q]
http://www.arcadja.com/auction...ere/20880/http://www.treccani.it/enciclo...ografico)/NARICI (Narice), Francesco. – род. в Sestri (Genova) в 1719.
Картины между 1775 и 1777 для разных церквей
Assunzione della Vergine - Вознесение Богородицы
S. Antonio abate in meditazione - молитва св. Антония
Natività - Рождение Богоролицы
la Vergine col Bambino - Богоматерь с Младенцем
l’Estasi di s. Rosa da Lima - Восторги\блаженство св. Розы из Лимы
la Vergine che appare a Gregorio Magno - Дева Мария являющаяся Григорию Великому
l’Adorazione dei pastori - Поклонение пастухов
l'Adorazione dei magi - Поклонение волхвов
i Ss. Lorenzo e Girolamo - святые Лоренцо и Джироламо
la Madonna del Rosario - Богоматерь с четками
Около 1779 г. закончил писать последняя картина небольших размеров "Vergine tra s. Nicola e s. Ignazio di Loyola" (Дева Мария между св. Николаем и св. Игнацием) для церкви dell’Annunziata di Guardia Sanframondi около Benevento.
Неизвестно, где умер, по мнению его биографа Alizeri (1864) умер в 1785.
https://wannenesgroup.com/it/lots/358-6670-francesco-narici/Картина Наричи - св. Иоанн охраняет сон Иисуса - Младенца
(такой он там толстенький. упитанный!!)
https://www.jstor.org/stable/24433611?seq=1Pittura 'napoletana' del Settecento in Liguria: il caso di Francesco Narici
"Неаполетанская" живопись 18 в. Лигурии: Франческо Наричи
http://dipintiantichigiamblanco.it/assunzione-della-vergine/Есть итальянский и английский текст, цитирую английский:
The larger part of Francesco Narici’s oeuvre was carried out in the years he spent between Naples and the Caserta area, documented from 1751 to 1779. After an early apprenticeship in Genoa, the painter is believed to have trained indeed in Naples around 1735, presumably together
with Francesco Solimena’s pupils. Narici worked for the Bourbon Court and for important religious institutions in Campania, and he was one of the best interpreters of the academic developments of the figurative trend represented by Francesco Solimena and his great successor, Francesco de Mura. At the same time, the Ligurian painter kept on sending works back home, a proof of his solid bond with those patrons that were loyal to him even in the final leg of his career.
This painting, that I was able to study on high-resolution digital photographs and that, as far as I know, has never been published before, is a finished sketch or perhaps a refined afterthought of the «Assumption of the Virgin» by Francesco Narici in Badalucco, in the church of Santa Maria Assunta e San Giorgio, signed and dated 1778.
This pivotal work of Narici’s later course was first mentioned by Daniele Sanguineti in an important essay… (see GALLERIA GIAMBLANCO DIPINTI ANTICHI – Italian Paintings of the Seventeenth and Eighteenth Centuries, Allemandi, 2014)
