Giovanni Agostino Cassana, also known as Abate Cassana, stands as a notable figure in the vibrant tapestry of Italian Baroque art. Active primarily during the latter half of the 17th century and the early 18th century, Cassana carved a niche for himself, particularly excelling in the depiction of animals and lavish still life compositions. Though perhaps not as universally renowned as some of his towering contemporaries, his work reflects the rich artistic currents of his time and offers a fascinating glimpse into the tastes and patronage of the era.
Born in Venice around 1658, Giovanni Agostino was immersed in an artistic environment from his earliest days. He hailed from a family of painters; his father, Giovanni Francesco Cassana (c. 1611–1691), was a Genoese artist who had studied under the influential Bernardo Strozzi. This familial connection to Strozzi, a prominent figure in both Genoese and Venetian painting, likely provided an early and significant artistic grounding for the young Cassana.
Early Influences and Artistic Formation
The initial artistic instruction Giovanni Agostino received was from his father. This apprenticeship within the family workshop was a common practice during the period, allowing for the direct transmission of skills and stylistic preferences. Giovanni Francesco, having been a pupil of Strozzi, would have imparted a style characterized by rich color, robust forms, and a certain painterly dynamism, all hallmarks of Strozzi's own work which blended Genoese naturalism with Venetian colorism.
Giovanni Agostino was not the only artist in his immediate family. He had two brothers who also pursued artistic careers: Niccolò Cassana (1659–1714) and Giovanni Battista Cassana (1668–1738). Niccolò, in particular, achieved considerable fame as a portrait painter, eventually working for the English court and Grand Duke Ferdinando de' Medici in Florence. Giovanni Battista also specialized in fruit and flower still lifes. This familial artistic milieu undoubtedly fostered a competitive yet supportive environment for Giovanni Agostino's development.
While his father provided his foundational training, Giovanni Agostino's specialization in animal and still life painting was further honed by studying the works of, and possibly learning directly from, other masters. Art historical sources indicate that he learned specific techniques for depicting animals from Jacques van de Kerckhove (also known as Giacomo da Castello, c. 1637–c. 1712), a Flemish painter active in Venice who was renowned for his lively animal scenes and still lifes.
Flourishing in Venice, Florence, and Genoa
Cassana's career saw him active in several key Italian artistic centers. While Venice was his birthplace and a city whose artistic traditions would have deeply influenced him, he also spent a significant period in Florence. There, he worked for the esteemed court of Grand Duke Ferdinando de' Medici, a notable patron of the arts. This connection suggests a high level of skill and recognition, as securing Medici patronage was a mark of distinction. His brother Niccolò's presence in Florence may have facilitated this engagement.
His time in Florence would have exposed him to a different artistic climate, one rich with the legacy of Renaissance masters and contemporary Florentine Baroque artists. He is documented as frequently traveling between Florence and Genoa, the latter being his father's city of origin and a thriving center for still life and genre painting. Genoa, in particular, had a strong tradition of animal painting, influenced by Flemish artists who had settled or worked there, such as Jan Roos and the great Frans Snyders, whose works were highly sought after.
It was in Genoa that Giovanni Agostino Cassana spent his later years and ultimately passed away on May 6, 1720, at the age of approximately 62. His artistic practice seems to have solidified around his preferred genres, and his works found their way into various collections, attesting to his success.
The Signature Style: Animals and Abundant Still Lifes
While Giovanni Agostino Cassana did produce some portraiture, his true passion and recognized strength lay in the depiction of animals and elaborate still life compositions. His approach to these subjects was deeply rooted in the Baroque sensibility, which favored dynamism, rich textures, and often, a sense of drama or abundance.
His animal paintings often featured a variety of creatures – poultry, game birds, rabbits, dogs, and sometimes more exotic animals if the commission allowed. These were not merely static representations but were frequently depicted in lively interactions or as part of a larger scene, such as a hunt or a bustling farmyard. He demonstrated a keen observational skill, capturing the textures of fur and feathers with remarkable verisimilitude.
In his still lifes, Cassana showcased a penchant for abundance. His canvases would often be filled with a profusion of fruits, vegetables, fish, and game, meticulously arranged, sometimes appearing to spill out of baskets or be displayed on rocky ledges or kitchen tables. This "kitchen piece" or market scene subgenre was popular, allowing artists to display their virtuosity in rendering diverse textures and colors. The influence of Flemish masters like Frans Snyders and Adriaen van Utrecht, known for their opulent market and pantry scenes, can be felt in this aspect of Cassana's work, likely transmitted through Genoese channels or artists like Kerckhove.
Key Influences on Cassana's Genre Painting
The development of Cassana's distinctive style in animal and still life painting was shaped by several key artistic figures and traditions. Beyond his father and Jacques van de Kerckhove, art historians consistently point to his engagement with the styles of:
Antonio Maria Vassallo (c. 1620–1664/72): A Genoese painter, Vassallo was himself influenced by Flemish art and was known for his kitchen scenes, mythological subjects featuring animals, and still lifes. Cassana's work sometimes echoes Vassallo's robust compositions and his focus on the tangible reality of objects and animals. Vassallo, like Cassana, often incorporated figures into his still life settings, blurring the lines between pure still life and genre scenes.
Giovanni Benedetto Castiglione (Il Grechetto, c. 1609–1664): Perhaps one of the most significant influences, Castiglione was a towering figure in Genoese Baroque art. He was exceptionally versatile, known for his etchings, religious and mythological scenes, and, crucially for Cassana, his pastoral landscapes and market scenes teeming with animals. Castiglione's innovative technique, often involving expressive brushwork and dramatic lighting, and his ability to imbue animal subjects with vitality, set a high bar. Cassana's compositions featuring animals in dynamic arrangements often recall Castiglione's pioneering work in this area. Castiglione's son, Francesco Castiglione, also continued this tradition of animal painting.
Joannes Fyt (1611–1661): A Flemish Baroque painter, Fyt was a pupil of Frans Snyders and became one of the leading animal and still life painters of his time. His works, characterized by their energetic compositions, rich textures, and dramatic portrayal of hunting scenes and still lifes with game, were highly influential across Europe. Cassana's adoption of Fyt's style, likely learned through Kerckhove or by studying Fyt's works directly (as they were collected in Italy), is evident in the dynamism and tactile quality of his animal depictions.
The artistic environment of Genoa, with its strong contingent of Flemish painters or Italian artists deeply influenced by them, such as Sinibaldo Scorza (a precursor to Castiglione in animal painting) and Jan Roos (Giovanni Rosa), provided a fertile ground for Cassana's specialization. These artists collectively contributed to a distinctive Genoese school of animal and still life painting that blended Flemish realism with Italianate composition and color.
Representative Works of Giovanni Agostino Cassana
Several works are attributed to Giovanni Agostino Cassana that exemplify his characteristic style and thematic concerns. While a comprehensive catalogue raisonné might be elusive, notable examples include:
"Still Life with Cocks, Ducks and Rabbits": This title, or variations thereof, represents a common theme for Cassana. Such paintings would typically showcase his skill in rendering the varied textures of feathers and fur, the lifelike (or recently deceased) forms of the animals, often arranged in a somewhat rustic setting, perhaps a larder or a preparation for a feast. The composition would aim for a sense of naturalism combined with artistic arrangement.
"Birds with an Upturned Basket of Fruit": This work highlights his ability to combine animal and fruit still life elements. The upturned basket creates a sense of dynamic disarray, with fruits spilling forth, attracting the attention of various birds. Such compositions allowed for a rich interplay of colors and textures – the smooth skin of apples and grapes, the soft plumage of the birds, and the rough weave of the basket. This theme was popular among still life painters like Abraham Brueghel, who also worked in Italy.
"Hunter with Game": This subject, also tackled by artists like Fyt and Snyders, would typically feature a hunter, perhaps with his dogs, surrounded by the spoils of the hunt – game birds, hares, or deer. Cassana's versions would focus on the realistic depiction of the animals and the textures of their coats, set within a landscape or interior.
Compositions with Fish and Vegetables: Cassana also painted still lifes featuring aquatic life and garden produce. These works would demonstrate his ability to capture the glistening scales of fish, the varied forms and colors of vegetables, often arranged on a stone slab or in a kitchen setting, reminiscent of the works of Neapolitan still life painters like Giacomo Recco or Giovan Battista Ruoppolo, though Cassana's style remained distinct.
His works are found in various collections, including galleries in Florence (such as the Uffizi Gallery or Pitti Palace, reflecting his Medici patronage), Venice, and Genoa. These pieces are valued for their technical skill, their contribution to the Baroque still life tradition, and their reflection of contemporary tastes for scenes of abundance and naturalistic depiction.
The Cassana Artistic Dynasty
Giovanni Agostino was part of a notable artistic family. His father, Giovanni Francesco Cassana, as mentioned, was a student of Bernardo Strozzi. Strozzi himself was a Capuchin friar (hence his nickname "Il Cappuccino") before becoming a leading painter, known for his vigorous brushwork and warm palette. Giovanni Francesco's style, therefore, carried this legacy.
Giovanni Agostino's brother, Niccolò Cassana (1659-1714), achieved perhaps greater international fame, primarily as a portraitist. He studied with his father and then worked extensively in Venice. His talent brought him to the attention of Grand Duke Ferdinando de' Medici of Tuscany, for whom he painted numerous portraits and other subjects. Niccolò later traveled to the court of Queen Anne in England, where he painted portraits of the nobility. His style was polished and elegant, suited to aristocratic patronage. He also painted genre scenes and "teste di carattere" (character heads), a popular type of painting at the time.
The other brother, Giovanni Battista Cassana (1668-1738), also became a painter, specializing in still lifes of fruit and flowers, and sometimes fish. He, too, worked in Venice and later in other cities, including possibly joining his brother Niccolò in England for a time.
This familial concentration of artistic talent, while not unique, highlights how artistic skills and reputations were often cultivated and passed down within families, creating veritable dynasties that could dominate certain genres or regional markets for generations. The Cassana brothers, each with their specializations, contributed to the rich artistic output of late Baroque Italy.
Artistic Legacy and Historical Significance
Giovanni Agostino Cassana's contribution to art history lies primarily in his skilled and prolific output within the genres of animal painting and still life. While he may not have been a radical innovator in the vein of Caravaggio or Rembrandt, he was a master of his chosen specializations, operating within established but evolving traditions.
His work is significant for several reasons:
1. Continuation and Adaptation of Flemish Influence: Cassana effectively absorbed and Italianized the strong Flemish tradition of animal and still life painting, particularly the styles of Snyders and Fyt, making it accessible and appealing to Italian patrons. He blended this Northern realism with an Italian sense of composition and, at times, a Venetian richness of color.
2. Contribution to Genoese and Venetian Schools: His activity in these key cities contributed to their reputations as centers for still life and genre painting. In Genoa, he was part of a lineage that included masters like Scorza, Vassallo, and Castiglione. In Venice, he added to the city's diverse artistic offerings, which, while famous for grand history painting and portraiture (Titian, Tintoretto, Veronese), also supported strong traditions in other genres.
3. Reflection of Baroque Tastes: Cassana's paintings, with their emphasis on abundance, naturalistic detail, and often dynamic compositions, perfectly catered to the Baroque era's love for drama, virtuosity, and the celebration of the material world. His depictions of overflowing larders, successful hunts, and lively animal groups resonated with patrons who appreciated both the skill involved and the subject matter itself.
4. Technical Proficiency: Art historians and connoisseurs recognize Cassana's considerable technical skill. His ability to render diverse textures – fur, feathers, scales, fruit skins, foliage – with convincing realism was a hallmark of his work. This technical mastery was essential for success in a competitive art market.
While detailed biographical information about Giovanni Agostino Cassana, particularly regarding personal anecdotes or extensive written records, remains somewhat scarce (a common issue for many artists of the period who were not of the absolute first rank of fame like a Titian or a Michelangelo), his paintings speak for themselves. They are a testament to a dedicated and skilled artist who found his voice in celebrating the beauty and vitality of the natural world, as well as the bounty of the human table.
His works continue to be studied and appreciated for their artistic merit and as valuable documents of Baroque culture and taste. They hold a secure place within the broader narrative of Italian Baroque painting, particularly within the specialized yet highly popular genres of animal and still life depiction. Artists like Evaristo Baschenis, famous for his still lifes of musical instruments, or the later female still life painters like Rachel Ruysch in the Netherlands, demonstrate the widespread appeal and diverse manifestations of still life across Europe during this period, a context within which Cassana's contributions find their place.
Conclusion: An Enduring Baroque Vision
Giovanni Agostino Cassana, the "Abate," navigated the complex and competitive art world of late 17th and early 18th century Italy with considerable success. From his initial training in Venice within a family of artists to his productive periods in Florence and Genoa, he developed a distinctive and sought-after style, particularly in the realm of animal and still life painting. Drawing inspiration from his father, Giovanni Francesco Cassana, and learning from masters like Jacques van de Kerckhove, he skillfully synthesized Italian and Flemish artistic traditions.
His canvases, often teeming with life – whether the vibrant plumage of birds, the rich fur of game, or the succulent textures of fruit – reflect the Baroque era's fascination with the natural world and its abundant pleasures. Influenced by the robust naturalism of Antonio Maria Vassallo, the dynamic compositions of Giovanni Benedetto Castiglione, and the textured realism of Joannes Fyt, Cassana carved out a significant niche. His works, found in important collections, stand as a testament to his technical prowess and his ability to capture the spirit of his subjects.
Though perhaps overshadowed in broader art historical narratives by figures with more revolutionary impacts or wider thematic ranges, Giovanni Agostino Cassana remains a respected and important painter within his specialized genres. He, along with his brothers Niccolò and Giovanni Battista, contributed to the rich artistic legacy of the Cassana family, leaving behind a body of work that continues to engage and delight viewers with its Baroque vitality and meticulous craftsmanship. His paintings offer a window into the artistic tastes of his time and affirm his place as a skilled practitioner in the enduring tradition of still life and animal depiction.
