THE XVII AND XVIII CENTURY
The section of the D’Adda’s collection opens with the portant belonging to the marquis, which was used by the family for personal transport and referred to the first half of the XVIII century. To Pier Francesco Gianoli is ascribed the painting , dated between 1675 and 1679, while the theme of still life comes back with the series of Flowers and Fruit Vases referring to the painter Margherita Caffi (1650-1710).
Follows the section the painting made with ’four hands’ by the painters Alessandro Magnasco (1667- 1749) and Antonio Francesco Peruzzini (1643/1646 - 1724), the latter sensitive to the lesson of the Venetian ’paesismo’; the first is entitled to the figures, the second to the view, according to a collaborative practice that sees the two artists work together for a long time.
Of the collection is also part a ‘gallery of noble portraits’: the Portrait of Man belongs to the French painter Jan Baptiste Greuze (1725-1805), while the young lady is attributable to Jacob Ferdinand Voet (1639-1689), called “Ferdinando de’ Ritratti“, who often worked for the Italian and European aristocracy . Belong to the fresco painter and decorator Valsesian , Tarquinio Grassi (1656-1733), the Portrait of Livia Maria D’Adda, probably made in 1703, and the two allegorical painting canvases with Painting and Architecture.
Complete the section Portraits of the spouses Francesco and Maria Alippi, the work of an anonymous Lombard in the middle of the XVIII century, and the two coffered drawers, one of Lombardy-Veneto area of the XVIII century, the other of Roman manufacturing also belonging to the same century.
The exhibition of the first floor of the Palace closes with a room that ideally prelates to the collections dedicated to the XIX century, housed in the upper level.
Here is illustrated the pictorial tradition of the XVIII century Valsesian with works by Bartolomeo Carlo Borsetti (circa 1698-1759) and Giovanni Antonio Orgiazzi ’the Old’ (1709-1788), the leading exponents of the rococo in the valley, whose figurative witness is inherited by the children of the latter, Giovanni Antonio ’the Young’ (1734- post 1803) and Rocco (1742-1798).
Bartolomeo Carlo Borsetti realized the pendants in the first half of the XVIII century depicting Saint Rocco and Saint Sebastian, coming at Pinacoteca from the church of Saint Charles of Varallo, and Saint Joachim and .
The magnificent wooden Frame is attributed to Giovanni Antonio Orgiazzi ’the Old’, originally a rocaille decoration model, reused as a tabernacle; connected to the activity of the latter and the Basilica of the Sacred Mount is the small oval on copper depicting the Assumption of the Virgin.
The specialization achieved by Orgiazzi in ornamental and fresco decoration gave him a very high number of assignments to the point of acquiring the absolute monopoly on the most important commissions in Valsesia, completed with the help of a real enterprise where the children also participated. Ascendant to Giovanni Antonio ’the Young’, is the portrait Portrait of architect Carlo Perona, of 1790.
It closes the section the Self Portrait of Rocco Orgiazzi, distinguished in painting, architecture, sculpture and music, arts to which alluded to the symbols placed on the corners of the canvas. He was the first teacher at the School of Drawing in Varallo, founded in 1778; to his death, succeeds Giovanni Avondo (1763-1829), figure with which it opens the path of the XIX century.