The little girl found in Venice (Rotta)
| The little girl found in Venice | |
|---|---|
| Italian: La bambina ritrovata a Venezia, French: La petite fille trouvée à Venise | |
 | |
| Artist | Antonio Rotta |
| Year | c. 1870 |
| Type | Oil on poplar |
| Dimensions | 230 cm × 180 cm (89 in × 70 in) |
| Location | Civici Musei di Storia ed Arte, Trieste, Italy |
The little girl found in Venice (also known as La bambina ritrovata a Venezia) is a 19th-century painted in oil by Antonio Rotta, in 1870, in Venice, Italy, exhibited at the Civici Musei di Storia ed Arte in Trieste, Italy.
Description[change | change source]
Representations of interior scenes about Venice life are rare, and this is one of the most historical images of everyday life. The scene portrays the hall of a Venetian palace, as can be deduced from the view in the area of Piazza San Marco, the Doge's Palace (in Italian: Palazzo Ducale), also known as the Doge's Palace, a symbol of the city of Venice and the Belfry of São Marcos, in addition to the open window. It is not easy to interpret the theme of the painting, wrapped in the story of a mystery of the Republic of Venice: perhaps the lady, who turns a stunned and grateful look at the sky at the same time, recognizes in the child of the clothes dispensed a girl dear to her, whose physiognomy is mentioned in the picture on the console to the right of the painting. On the same island there is a large Chinese pink porcelain vase of the family, to connote the richness and refinement of the furniture and the testimony of the importance of the commercial relations between the Republic of Venice and China at the time. The Chinese porcelain vase, is a piece of furniture that signals the widespread passion that collectors showed in those years for chinoiserie and for Chinese art and culture. Rotta is interested in the representation of true everyday life, finding in it a deep introspection of the human soul. It is still life according to the realism that impresses the first moment when the innocence of children dies along with the knowledge of life.
Stilistic analysis[change | change source]
Rotta is interested in the representation of true everyday life, finding in it a deep introspection of the human soul. It is still life according to the realism that impresses the first moment when the innocence of children dies along with the knowledge of life. It is not easy to interpret the subject of the painting: perhaps the lady, who at the same time looks astonished and grateful to the sky, recognizes in the girl in disheveled clothes a beloved girl, whose physiognomy is suggested in the frame of the console to the right of the screen. painting. On the same console, there is a large Chinese porcelain vase of the famille rose type, to connote the richness and refinement of the furniture.[1]
A rich and rich girl who is lost in the world and for the first time has a feeling of dismay. The paintings of works that offer scenes of life in rich environments are rare and precious, because Rotta was the intense singer of the popular soul, of the humble people, of the places and of the poor and everyday domestic atmospheres of Venice that he knew in his intimacy essence.[1]
Exhibitions[change | change source]
- Museo d’arte orientale, Trieste, 2013