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Antoon van Dyck - Christ of the coin
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Antoon van Dyck - Anton Giulio Brignole - Salt on horseback
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Giovanni Francesco Barbieri, detto Guercino - Dying Cleopatra
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Giovanni Francesco Barbieri, detto Guercino - Eternal Father with a little angel
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Bernardo Strozzi, detto il Cappuccino - The Cook
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Guido Reni - San Sebastian
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Jacopo Negretti, detto Palma il Vecchio - Madonna and Child between Saints John the Baptist and Magdalene
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Carlo Antonio Tavella - Lake landscape
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Lorenzo De Ferrari - The living room of the Virtues of the Patries
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Domenico Piola - Allegory of Autumn
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Domenico Piola - The chariot of the sun with the seasons
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Giovanni Benedetto Castiglione, detto il Grechetto - Nativity
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Gerard David - Madonna della Pappa
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Jan Wildens - January - Ice skaters
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Leon Cogniet - Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
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Pellegro Piola - Holy Family known as the butterfly
Antoon van Dyck - Christ of the coin
Antoon van Dyck - Anton Giulio Brignole - Salt on horseback
Giovanni Francesco Barbieri, detto Guercino - Dying Cleopatra
Giovanni Francesco Barbieri, detto Guercino - Eternal Father with a little angel
Bernardo Strozzi, detto il Cappuccino - The Cook
Guido Reni - San Sebastian
Jacopo Negretti, detto Palma il Vecchio - Madonna and Child between Saints John the Baptist and Magdalene
Carlo Antonio Tavella - Lake landscape
Lorenzo De Ferrari - The living room of the Virtues of the Patries
Domenico Piola - Allegory of Autumn
Domenico Piola - The chariot of the sun with the seasons
Giovanni Benedetto Castiglione, detto il Grechetto - Nativity
Gerard David - Madonna della Pappa
Jan Wildens - January - Ice skaters
Leon Cogniet - Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
Pellegro Piola - Holy Family known as the butterfly

Other works on display

Description

The portrait of Anton Giulio Brignole-Sale and that of his wife Paolina Adorno constitute one of the rare examples of en pendant portraits made by Van Dyck still remaining together. With a third painting, depicting Geronima Sale-Brignole with his daughter Aurelia, his mother and sister respectively, they were paid to the painter in 1627 - the final year of his stay in Genoa - for a total of 747 lire. These are probably the last paintings executed by the Flemish in Genoa, the city where he arrived in 1621 as "best disciple" of Rubens, soon enjoying extraordinary success among the new city nobility who, well aware of the symbolic value of the images and the celebratory message from they conveyed, he competed to be portrayed by the young artist. Anton Giulio Brignole - Sale, inheriting from his maternal grandfather the fief of Groppoli and the related title of marquis, was officially ascribed to the Genoese aristocracy in 1626; the following year, just twenty-two, he was portrayed by Van Dyck on horseback and in a stately pose, until a few years earlier reserved exclusively for sovereigns, which emphatically celebrates his recent social status. The compositional model of this equestrian portrait depends on famous Rubensian examples such as Gio. Carlo Doria (Genoa, Galleria di Palazzo Spinola) and the Duke of Lerma (Madrid, Prado Museum) but the pictorial material with which it is made is quite different from the rich and mellow one of the famous master. The canvas of Palazzo Rosso, in fact, is built with a very rapid execution technique, played by glazing of whites and varnishes but not of "body" colors, which ensures a great effect of matter without there being any real substance, such as typical of the works of the Flemish between 1626 and 1627.

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