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Lot Essay
Born in the Marche, where he received his early training, Giuseppe Ghezzi moved to Rome in the 1660s and became a prominent figure in the Roman art world of his day. He quickly assimilated the styles of the foremost painters active in the city, particularly Pietro da Cortona and Giovanni Battista Gaulli, yet his work, far from being a pale imitation of these masters, reveals a strong sense of individuality and a clear delight in the dramatic possibilities of the high baroque. In 1674 he became a member of the Accademia di San Luca, serving as Secretary from 1678-1719, and he received numerous commissions for frescoes and altarpieces in a variety of Roman churches, many of which are still in situ, such as the frescoes for the Chapel of Santo Spirito in San Silvestro in Capite and the two altarpieces of The Creation of Adam and The Resurrection of the Dead in the Chiesa Nuova at S. Maria in Vallicella.
After around 1700 Ghezzi seems to have produced few pictures, other than portraits of his fellow academicians. He was still much in demand, however, as an adviser and restorer for prominent collectors, including Queen Christina of Sweden and Pope Clement XI. He also coordinated the prestigious annual exhibition of pictures at S. Salvatore in Lauro from 1683 onwards, and was an influencial teacher to, among others, his son Pier Leone Ghezzi and Pietro Bianchi.
This picture probably dates from the 1690s and in its rich colouring, extravagant drapery and pronounced chiaroscuro is a fine example of his mature style. A preparatory drawing exists for the figure of Ishmael, which was offered at Sotheby's, Monaco, 29 November 1986, lot 1 (as Giovanni Battista Beinaschi).
After around 1700 Ghezzi seems to have produced few pictures, other than portraits of his fellow academicians. He was still much in demand, however, as an adviser and restorer for prominent collectors, including Queen Christina of Sweden and Pope Clement XI. He also coordinated the prestigious annual exhibition of pictures at S. Salvatore in Lauro from 1683 onwards, and was an influencial teacher to, among others, his son Pier Leone Ghezzi and Pietro Bianchi.
This picture probably dates from the 1690s and in its rich colouring, extravagant drapery and pronounced chiaroscuro is a fine example of his mature style. A preparatory drawing exists for the figure of Ishmael, which was offered at Sotheby's, Monaco, 29 November 1986, lot 1 (as Giovanni Battista Beinaschi).