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Oil painting on canvas. Attribution of Professor Nicola Spinosa. Formerly Casa d'Aste Finarte, Minerva Auction.

Quantosegue is taken from the Minerva Auctions Catalog. </ o: p>

Ildipinto, attributed to the painter Alessio D'Elia by the Historian of Art NicolaSpinosa, could be placed in the middle of the eighteenth century, based on the sciaartistica of the master Francesco de Mura. </ o: p>

D'Eliafu was an artist in great demand and he created above all frescoes for important ecclesiastical commissions, while we find his canvases in many c hiese romanee neapolitans. </ o: p>

Distinctive features of his style are the compositional mastery and the scenographic wisdom, particularly evident in this painting. </ span > </ o: p>

Compared to the style of his master, in general and here in particular, subtle differences in character are revealed, including the joyful vein and popular, recognizable in the plump faces, in the minu mouths te of the little shepherds and in a basic ariosodynamism, which attenuates otherwise more classical and monumental ancestry. </ o: p>

The resulting composition reveals, from the first impact, a choral harmony inspired by the great synergy of the multitude of figures and elements, all defined even in the smallest of details. </ o: p>

Long diagonal amplified of the majestic figure of a woman with a draped back , a joyful procession of putti, young girls and shepherds who converge towards the Holy Family, placed on a symbolic pedestal of ancient Roman ruins, on whose steps the Eucharistic lamb gently rests, the incarnation of Meekness and Innocence. </ o: p>

The painterly gesture turns out to be tall and natural, devoid of jamming and hardness, so safe and expressive as to make it seem like 'work as fresco painted. </ o: p>

Secondolo spirit of the more mature Neapolitan rococo , the figures of angels flit, clear and ethereal, in a harmonious triumph. </ o: p>