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Lot Essay
Born in Palermo where he was first trained as an artist, Francesco Manno arrived in Rome in 1786 where he studied under Pompeo Batoni and Preciado. He soon grew in artistic status there, painting mainly religious subjects, with Pope Pius VI Braschi as his protector (see G. Sestieri, Repertorio della pittura romana della fine del Seicento e del Settecento, Turin, 1994, I, pp. 114-115).
Although his activity was for a large part in the nineteenth century, Manno's style is anchored in the eighteenth century, showing the influence of Sebastiano Conca's interpretation of Roman Academicism. The composition of the painting is indebted to the classical tradition of Carlo Maratta while the colours prefigure the nineteenth century.
Although his activity was for a large part in the nineteenth century, Manno's style is anchored in the eighteenth century, showing the influence of Sebastiano Conca's interpretation of Roman Academicism. The composition of the painting is indebted to the classical tradition of Carlo Maratta while the colours prefigure the nineteenth century.