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拍品專文
Though Milanese, Ghisolfi spent most of his career in Rome and Piacenza, working as a painter and decorator. From his arrival in Rome he became a friend and close associate of Salvator Rosa. Rosa collaborated with Ghisolfi on numerous occasions during this period commencing in 1654 when Ghisolfi designed the backdrops to some stage sets in which Rosa painted the figures. In 1661 he returned to Lombardy and worked at the Certosa di Pavia. In the following years he established a reputation for landscape paintings with architecture and ancient ruins.
We are grateful to Professor David R. Marshall for confirming the attribution to Giovanni Ghisolfi on the basis of a color transparency (written communication, 28 September 2004). He also points out that the trophy to the right of the temple is based on the so-called Trofei di Mario (Trophies of Marius) now on the parapet of the Campidoglio, Rome. The trophy appears in three other compositions by Ghisolfi (see A. Busiri Vici, Giovanni Ghisolfi (1633-1683). Un pittore milanese di rovine romane, Rome, 1992, p. 63, no. 17 and p. 83, no. 37 and 38). The Temple of the Sibyl appears in an additional composition (see, A. Busiri Vici, op. cit., p. 76, no. 29).
We are grateful to Professor David R. Marshall for confirming the attribution to Giovanni Ghisolfi on the basis of a color transparency (written communication, 28 September 2004). He also points out that the trophy to the right of the temple is based on the so-called Trofei di Mario (Trophies of Marius) now on the parapet of the Campidoglio, Rome. The trophy appears in three other compositions by Ghisolfi (see A. Busiri Vici, Giovanni Ghisolfi (1633-1683). Un pittore milanese di rovine romane, Rome, 1992, p. 63, no. 17 and p. 83, no. 37 and 38). The Temple of the Sibyl appears in an additional composition (see, A. Busiri Vici, op. cit., p. 76, no. 29).