Giuseppe Bossi - inv. 4751

Titolo: 
Portrait of Gian Giacomo Trivulzio
Numero di Inventario: 
4751
Tipologia: 
paintings
Collezione: 

Graphics and Books

Classe iconografica: 
Portrait
Parole chiave soggetto: 
Gian Giacomo Trivulzio
Motivo attribuzione: 
signature
Autore, ambito, luogo di produzione: 
Giuseppe Bossi (1777-1815)
Ambito e luogo di produzione: 
Milano
Milan
Lombardia
Lombardy
Italy
Periodo: 
1800
Datazione specifica: 
1800-1810
Pubblicazione: 
Si
Tipo di iscrizione: 
signature
Trascrizione o identificazione: 
“Ritratto dì Gio. Giacomo Trivulzio disegnato da Giuseppe Bossi Pittore.”
Data di Ingresso: 
2003
Acquisizione: 
Anna e Francesco Piccolo Brunelli
Tipo di acquisizione: 
donation
Collocazione riservata: 
Deposito primo piano
Tipo di collocazione: 
deposit
Collocazione: 
not on display

Giuseppe Bossi, an important artist of the Italian Neoclassical period and a great friend of the sitter, made this drawing at the beginning of the nineteenth century. This can be deduced both by the technique, which ties in with works by the artist painted after his meeting in 1802 with Jacques Louis David (1748-1825), and by the features of Gian Giacomo Trivulzio (1774-1831). Marquis Trivulzio, Gian Giacomo’s grandfather, was one of the great leaders in Milan’s culture and an important art collector in the Napoleonic time. Heir to one of the largest Milanese collections, he dedicated his efforts above all to increasing the remarkable bibliographic legacy created by his ancestors and today in the Trivulziana library in the Castello Sforzesco in Milan.
Giuseppe Bossi, influenced by the French examples of David and Jean Baptiste Wicar (1762-1834), did his portraits on paper using almost exclusively, as in this case, black pencil. The alternation of fine strokes with thicker ones, the use of a soft but vigorous line and the absence of tones give his works a freshness and sharpness that is by no means inferior to that of his french colleagues. This is added to by the artist’s particular gift of grasping the most hidden aspects of the sitter’s character.
In particular this drawing is comparable in the formal elegance of its execution to some of Bossi’s graphic masterpieces such as, for example, the Portrait of a Lady in a private collection in Milan and the Portrait of Antonio Canova now in a collection in the Bergamo area.


H.G.