Gaspare Diziani
(Belluno 1689 – Venice 1767)

Allegory of Sleep (or Night)

19 x 39 cm. - In a fine frame with rococo carvings 37 x 56 cm.

This little jewel of Venetian rococo painting illustrates a fascinating allegorical composition of Sleep: in the center a reclining female figure with large wings representing Night (Nyx), one of the primordial divinities of Greek mythology, protector of rest.

The woman holds a bouquet of poppies in one hand and wears a crown of flowers and capsules of this flower, a dream symbol which, in reference to opium, is associated with deep sleep and Morpheus, since its hypnotic properties induce oblivion, rest and dreams.

At his side, two small sleeping putti, in a state of complete bodily abandonment, symbolizing the soporific effect of the night: one lies asleep in the foreground on a golden cloth, while the other, on the right, rests reclined with his head resting on his arm.

These are the children of Night, the twins Hypnos (Hypnos) and Thanatos (Thanatos), according to classical mythology the divine personifications of Sleep and Peaceful Death (hence the famous Latin phrase: consanguineus lethi sopor, "sleep is the brother of death").

The image of the sleeping cherubs was considered in ancient times an allegory of eternal sleep and liberation from earthly toil: the general atmosphere of the work appears suffused and languid, created specifically to visually convey the sensation of nocturnal rest and quiet.

Of beautiful quality and conservation, the canvas presents characteristics that indicate the Venetian genesis of the execution, due to the chromatic exuberance and liveliness of the drafting; in particular, the work bears a traditional attribution to the master Gaspare Diziani (Belluno 1689 – Venice 1767), a refined protagonist of the Venetian artistic scene of the eighteenth century.

We recognize his signature use of color, with a vibrant palette, and soft chiaroscuro, with light distributed effectively to create a beautiful sense of depth and volume. In the color combination, the triad of red, yellow and blue is here reinterpreted in pastel shades, in line with the late Baroque style.

Having arrived in Venice from Belluno around 1710, Diziani was a pupil first of Gregorio Lazzarini, the last provincial interpreter of Baroque tenebrism, and then of Sebastiano Ricci whose teaching was decisive for the formation of a painting rich in material, chromatic accentuation and with a strong and nervous brushstroke.

Initially dedicated to theatrical scenography, during the second decade his activity moved to Dresden, to the court of Augustus III of Saxony and to Munich. In 1720 his presence in Venice was again documented but we also know that he was present in various cities in the Veneto, painting works of valuable artistic value, especially in Belluno and Padua.

ADDITIONAL INFORMATION:

The work sold is complete with an antique frame and is accompanied by a certificate of authenticity and guarantee.

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