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Maffei, Francesco Oil Painting Reproductions
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Maffei, Francesco Perseus Liberating Andromeda oil


Maffei, Francesco
Perseus Liberating Andromeda
Painting ID::  19241
new5/Maffei, Francesco_FmkDBZ.jpg 		Perseus Liberating Andromeda
1657-58 Oil on canvas.
   
   
     
Maffei, Francesco Sight oil


Maffei, Francesco
Sight
Painting ID::  19242
new5/Maffei, Francesco_PRDEtk.jpg 		Sight
1657-58 Oil on canvas.
   
   
     
Maffei, Francesco Perseus Cutting off the Head of Medusa oil


Maffei, Francesco
Perseus Cutting off the Head of Medusa
Painting ID::  19243
new5/Maffei, Francesco_54egNB.jpg 		Perseus Cutting off the Head of Medusa
1660 Oil on canvas Galleria dell'Accademia, Venice.
   
   
     
Maffei, Francesco Perseus Beheading Medusa oil


Maffei, Francesco
Perseus Beheading Medusa
Painting ID::  95801
new26/Maffei, Francesco-477495.jpg 		Perseus Beheading Medusa
circa 1650(1650) Medium oil on canvas cyf
   
   
     
Maffei, Francesco Mythological Scene oil


Maffei, Francesco
Mythological Scene
Painting ID::  95802
new26/Maffei, Francesco-979959.jpg 		Mythological Scene
circa 1650(1650) Medium oil on canvas cyf
   
   
     
Maffei, Francesco Perseus Liberating Andromeda oil


Maffei, Francesco
Perseus Liberating Andromeda
Painting ID::  95803
new26/Maffei, Francesco-774354.jpg 		Perseus Liberating Andromeda
between 1657(1657) and 1658(1658) Medium oil on canvas cyf
   
   
     
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     Maffei, Francesco
     Italian Baroque Era Painter, 1605-1660 Italian painter. He probably trained with his father, Giacomo Maffei, before joining the workshop of the Maganza family in Vicenza. His early works, such as the Ecce homo (ex-Dianin priv. col., Padua, see Pallucchini, 1981,), were influenced by the eclectic style, between Veronese and the Bassani, of Alessandro Maganza. The St Nicholas and the Angel (1626; Vicenza, S Nicola da Tolentino), with colours like those of Veronese, yet lighter, suggests Maffei's rapid development of an independent style that is both rugged and moving. His interest in narrative, already evident in scenes from the Life of St Cajetan (Vicenza, S Stefano), was developed in the later Martyrdom of the Franciscan Minors at Nagasaki (Schio, S Francesco), which is datable to about 1630. Here, the contrast between the pale, silvery tones of the background and the darker foreground figures is derived from Tintoretto, but the exaggerated Mannerist treatment of the main figures also recalls the art of such French engravers as Jacques Bellange and Pierre Brebiette. At the same time there is also an echo of the extreme stylizations of Giovanni Demio.

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