(Genoa 1665 - 1738)

  • Author: Enrico Giovanni Vaymer (Genoa 1665 - 1738)

  • Technique: Oil on canvas, 150 x 110 cm

He was born in Genoa in 1665 by Endryck Vaymer, an excellent sculptor of German origin, who worked steadily for the Brignole-Sale (Sanguinetti) family and Paola Ricci, a young Genoese. Gio Enrico's first teacher was certainly his father. He then passed into the workshop of a mediocre painter called "Schiena" to reach that of the well-known Maestro Giovan Battista Merano. Around 1679 he went to Rome where he frequented Gaulli's workshop and met Giovanni Maria delle Piane known as Il Mulinaretto, a painter with whom he has often been confused. On his return to Genoa, in 1684, he began his activity as a portraitist with great success, dedicated above all to the local nobility, inspired by the elegance of French painting and the work of Anton Van Dyck.

In the first decade of the eighteenth century he was called to Turin, where he stayed for three years, by King Vittorio Amedeo II of Savoy to be portrayed with all his "Royal Family". And, in the second decade of the eighteenth century, the Savoy was called again to paint the portrait of the new sovereign Carlo Emanuele III, son of the previous one. Returning to Genoa he died shortly after in 1738.

Gio Enrico Vaymer is considered in agreement by the critics among the protagonists of Genoese portraiture of the late seventeenth and early eighteenth centuries.

GIO ENRICO VAYMMER 1999 edition by Daniele Sanguineti, painting published on p. 30 fig. 31.
The painting is represented as earlyssima testimony of the artist's activity, of his first period and prior to the Roman years, that carried out in the workshop with the Gaulli towards 1679/80. p. 143 and p. 31. From Sanguineti's volume it can be deduced that the Portrait of a Lady is a work to be considered in the most typical language of Vaymer, from the presence of the typical dense and pasty brushstroke in the investigation of the dress in which sinuous brushstrokes and touches rich in matter flow with a lighter shade to simulate the flow of light on the various textures of the blue fabric and on the curtains and very interesting is the representation of the staglaite lady against a dark background on the right and in the landscape view on the left (assignable to Carlo Tavella? page 64 ) which turns with a deep and magnetic gaze, towards the observer.

The portrait of Dama is complete for the scenographic layout; the landscape background, the colorful floral composition in tune with the season resting on a top with a base depicted with telamons, all with a French-style affectation and to enhance the high-ranking lady.

Even the lady presents symbologies of extreme interest, if the flowers, present in a few paintings by Vaymer. they refer to meanings of purity, other objects such as the pearl necklace and the ring exhibited alluded to celebrations of worldly festivities, engagement or marital fidelity, a lady also enhanced by the dress of a lively color of silk and damask

The paintings of his Roman period are rare, strong in the Gaullesque formation and with the probable help of the Tavella for the landscape.

Painting in excellent condition.

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