Important couple of Saint Anne and Saint Joachim in White Marble, 17th century Neapolitan school, circle of Cosimo ...

Important couple of Saint Anne and Saint Joachim in White Marble, 17th century Neapolitan school, circle of Cosimo Fanzago (Clusone c.1593- Naples 1678)
Pair of sculptures in white marble, Santa Ana measures: 51 x 27 x 12. San Joaquín measures: 50 x 23 x 13 cm. Cosimo de Fanzago (Clusone, 1591 – Naples, 1678) is considered one of the greatest exponents of Baroque in Naples, where he created a highly original local version of such "non-style". Born in the town of Clusone near the northern city of Bergamo, into a family of bronze craftsmen and architects, he settled in Naples in 1608, where he was first an apprentice mason (mazone) and trained as a sculptor before to establish his atelier or "workshop" and begin to carry out his works. During his first Neapolitan stage, his achievements stand out, where he develops a baroque style with rich and variegated marble inlays that adorn structures still permeated with Mannerist rigor: The Guglia di San Gennaro (the spire of San Gennaro), a votive column-capital in homage to the patron saint of Naples. Such a "needle" is a kind of imitation of the large structures that are carried in religious processions dedicated to this saint. Cosimo Fanzago's works outside of Naples are mainly the baroque remodeling works he carried out for the famous Benedictine abbey of Montecassino and the altar in the Venetian church of San Nicolò al Lido, as well as works in Avellino, in Pescocostanzo, as well as in the Church of the Immaculate in Salamanca (Spain). Reference bibliography: Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. p. 5. ISBN 9780571249015. It is a kind of imitation of the great structures that are carried in the religious processions dedicated to this saint. Cosimo Fanzago's works outside of Naples are mainly the baroque remodeling works he carried out for the famous Benedictine abbey of Montecassino and the altar in the Venetian church of San Nicolò al Lido, as well as works in Avellino, in Pescocostanzo, as well as in the Church of the Immaculate in Salamanca (Spain). Reference bibliography: Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. p. 5. ISBN 9780571249015. It is a kind of imitation of the great structures that are carried in the religious processions dedicated to this saint. Cosimo Fanzago's works outside of Naples are mainly the baroque remodeling works he carried out for the famous Benedictine abbey of Montecassino and the altar in the Venetian church of San Nicolò al Lido, as well as works in Avellino, in Pescocostanzo, as well as in the Church of the Immaculate in Salamanca (Spain). Reference bibliography: Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. p. 5. ISBN 9780571249015. Cosimo Fanzago's works outside of Naples are mainly the baroque remodeling works he carried out for the famous Benedictine abbey of Montecassino and the altar in the Venetian church of San Nicolò al Lido, as well as works in Avellino, in Pescocostanzo, as well as in the Church of the Immaculate in Salamanca (Spain). Reference bibliography: Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. p. 5. ISBN 9780571249015. Cosimo Fanzago's works outside of Naples are mainly the baroque remodeling works he carried out for the famous Benedictine abbey of Montecassino and the altar in the Venetian church of San Nicolò al Lido, as well as works in Avellino, in Pescocostanzo, as well as in the Church of the Immaculate in Salamanca (Spain). Reference bibliography: Acton, Harold (1957). The Bourbons of Naples (1731-1825). London: Faber and Faber. p. 5. ISBN 9780571249015.