Giovan Battista Beinaschi Fossano near Turin 1636 - 1688 Naples

The original is slightly less contrasted than as shown in the catalogue illustration, and there is more detail in the flesh tones. The canvas has a recent relining which is sound. The painting, which is in fairly good overall condition, has been recently cleaned restored and re-varnished. The surface is perhaps a little pressed by the relining. The background is rather worn as are some of the shadows on the figures, for example John the Baptist's hair. There is a restored damage in the upper right background (12cm), another upper left, a restored tear lower right (approx. 20 cm) beneath the clasped hands and further restorations around the left and lower margins, notably in the extreme foreground. There is a series of restorations to the sleeve of Charity and the rest of the sleeve is quite worn. On Saint John's right bicep there is a series of restorations, as there is on his right shoulder and left bicep. Inspection under ultra-violet light reveals further, more minor restorations throughout. Sold with a decorative gilt frame, in good condition (see catalogue illustration). AF*
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Beinaschi's paintings have often been confused with Giacinto Brandi's and it was not until Pampalone's studies in the 1970s that their works were successfully distinguished.¹  The two artists' styles often come close, particularly during the late 1670s when Beinaschi was employed under Brandi's direction in the chapel of St. Barnabas in the Church of San Carlo al Corso in Rome. Beinaschi's style changed little throughout his career, making a chronology almost impossible to compile, but this painting probably dates from the eighth decade of the 17th century, when the artist was working in close association with Brandi.

Beinaschi began his artistic career in Turin, under the protection of Cristina Duchessa di Savoia (1606-1663), but by 1652 he was in Rome, apprenticed to the engraver Pietro del Po (1610-1692). It was through Del Po that Beinaschi developed his own skills as an engraver, copying Annibale Carracci's frescoes in the Galleria Farnese and Giovanni Lanfranco's in the churches of Sant'Andrea della Valle and San Carlo ai Catinari. Beinaschi was particularly influenced by other baroque painters working in Rome and Naples; namely Mattia Preti and Giovanni Lanfranco. Del Po provided a direct link between Beinaschi and Lanfranco for he had followed the latter from Naples to Rome, after having been his chief assistant in the church of SS. Apostoli in Naples in 1644-46 (a church whose cupola Beinaschi would fresco some forty years later). Beinaschi would have been able to see the paintings of Lanfranco, to whom De Dominici incorrectly states he was apprenticed, in Naples and Rome although he probably first came into contact with Lanfranco's work in Parma, where Beinaschi is presumed to have gone as a young man.

The attribution to Giovan Battista Beinaschi has been endorsed by Dr. Erich Schleier upon first hand inspection.

1.  A. Pampalone, "Inediti di Giacinto Brandi", in Commentari, Anno XXI, October - December 1970, pp. 306-15, and A. Pampalone, "Per Giacinto Brandi", in Bollettino d'Arte, Serie V, Anno LVIII, 1973, vol. I, pp. 123-166.