Giovanni Maria Delle Piane, affectionately nicknamed "Il Mulinaretto" (the Little Miller), stands as a significant figure in the landscape of late 17th and early 18th-century Genoese painting. Born around 1660 in Genoa and passing away in the same vibrant city in 1745, Delle Piane carved a distinguished career primarily as a portraitist, capturing the likenesses and status of the Genoese aristocracy and beyond. His work reflects a fascinating confluence of local traditions and international influences, particularly from France, positioning him as a key artist in the transition from the High Baroque to the nascent Rococo sensibilities in Ligurian art.
Early Life and Artistic Formation
Details about Giovanni Maria Delle Piane's earliest years and familial background suggest a connection to a family named "Munerato," with the cognomen "Mulinaretto" likely stemming from a familial association with milling, as "molino" translates to mill in Italian. While his father was reportedly a landscape painter, he did not achieve significant recognition, implying that Mulinaretto's artistic ascent was largely driven by his own talent and dedication.
A pivotal phase in his development was his period of study in Rome. There, he is known to have been a pupil of the celebrated Giovanni Battista Gaulli, himself a Genoese artist known as "Baciccio." Gaulli was a towering figure of the Roman High Baroque, famed for his breathtaking illusionistic ceiling frescoes, such as the vault of the Church of the Gesù, and his sensitive portraits. Under Baciccio, Delle Piane would have absorbed the dynamism and rich color palette characteristic of the Roman school, which was itself deeply influenced by masters like Gian Lorenzo Bernini, whose sculptural and architectural works defined the era's aesthetic. The influence of Bernini's dramatic intensity and psychological depth in portraiture, though primarily a sculptor, resonated throughout Roman artistic circles.
During his time in Rome, Delle Piane also likely encountered the works of Sir Anthony van Dyck, the Flemish Baroque master who had spent a transformative period in Genoa earlier in the 17th century (1621-1627). Van Dyck's elegant and aristocratic portrait style had left an indelible mark on Genoese painting, establishing a benchmark for noble portraiture that subsequent generations, including Delle Piane, would engage with. The combination of Baciccio's vibrant Roman Baroque and the lingering aristocratic grace of Van Dyck's Genoese period formed a crucial foundation for Mulinaretto's evolving style. He is also noted to have studied alongside Giovanni Enrico Vaymer in Rome, another Genoese painter with whom he would later share the artistic stage in their native city.
Return to Genoa and Rise to Prominence
Giovanni Maria Delle Piane returned to his native Genoa around 1684. The city, a wealthy maritime republic, possessed a sophisticated and art-loving aristocracy eager to commission works that reflected their status and cultural refinement. Mulinaretto quickly established himself as a sought-after portraitist within these elite circles. His ability to combine dignified representation with a sense of immediacy and psychological insight appealed greatly to his patrons.
His reputation grew, and he became one of the favored painters for the Genoese nobility. Among his notable patrons were prominent families such as the Doria and the Pallavicini. Portraits like those of Teresa Doria Gentile and Doria Giorgio exemplify his skill in capturing not only the physical likeness but also the character and social standing of his sitters. These works often feature rich fabrics, elaborate settings, and a careful attention to the details of costume and accessories, all rendered with a refined brushwork.
The artistic environment in Genoa during Delle Piane's active years was vibrant. He would have been aware of the legacy of earlier Genoese masters like Bernardo Strozzi and Valerio Castello, whose robust and painterly styles characterized the Genoese Baroque. He also worked within a generation that included artists such as Domenico Piola, head of a prolific workshop, and Gregorio De Ferrari, known for their large-scale decorative schemes. While Delle Piane specialized in portraiture, the broader artistic currents of elaborate decorative painting and a taste for dramatic compositions undoubtedly formed part of his visual world.
Artistic Style and Key Influences
Delle Piane's mature style is particularly noted for its strong affinity with French portraiture traditions of the late 17th and early 18th centuries. The influence of Hyacinthe Rigaud, the pre-eminent portrait painter to the French court of Louis XIV, is especially discernible. Rigaud's grand, opulent portraits, characterized by their majestic poses, rich draperies, and symbolic accoutrements, set a standard for courtly representation across Europe. Delle Piane adeptly incorporated this French "rhetoric" into his own work, lending his Genoese patrons an air of international sophistication.
This French influence is evident in the dynamic yet elegant poses of his figures, the luxurious rendering of textiles, and the often elaborate backdrops that might include classical columns, sweeping curtains, or distant landscapes. Works such as his portraits of Dorotea Mulazzani Pallavicino and Pompeo Pallavicino showcase this blend of stately formality and lively characterization. He demonstrated a fine mastery of light and shadow (chiaroscuro), using it to model forms and create a sense of volume and presence. His brushwork was typically refined, allowing for meticulous detail in faces, hands, and attire, yet it could also be fluid and expressive where appropriate.
Beyond Rigaud, the broader influence of French contemporaries like Nicolas de Largillière, another master of the grand portrait, can be sensed in the overall elegance and psychological acuity of Delle Piane's work. He managed to synthesize these international trends with the Genoese taste for rich color and texture, creating a distinctive personal style. Some art historians also note a subtle Venetian influence in his handling of color and light at times, perhaps an indirect absorption through the cosmopolitan artistic exchanges of the period.
Notable Works and Thematic Range
While primarily celebrated for his portraits of the aristocracy, Delle Piane's oeuvre also included other subjects. He is known to have painted religious themes, although these are less central to his modern reputation than his society portraits. His skill in depicting human figures with sensitivity and grace would have translated well to religious narratives.
Among his most recognized works are the aforementioned portraits of Genoese nobles. The Portrait of Teresa Doria Gentile is a fine example of his ability to convey both the sitter's individual personality and her elevated social status through pose, costume, and expression. Similarly, his depictions of male figures, such as Doria Giorgio, often combine an air of authority with a hint of approachability.
Unattributed works, such as paintings titled Gentleman with a Small Dog and Lady with a Small Dog, have also been associated with his hand or circle, reflecting a popular subgenre of portraiture where pets were included to add a touch of informality or to symbolize fidelity or status. These paintings, whether securely by him or by close followers, demonstrate the prevailing tastes and stylistic tendencies he helped to shape. His portraits of Carlo Giuseppe Ratti, a fellow artist and art historian who documented Delle Piane's life, are also significant, offering a glimpse into the artistic community of Genoa.
Court Painter and Esteemed Commissions
Delle Piane's renown extended beyond the confines of Genoa. He became one of the court painters to Francesco Farnese, the Duke of Parma and Piacenza. This appointment was a significant honor and a testament to his artistic capabilities. Working for the Farnese court would have placed him in a highly competitive and prestigious environment, further exposing him to diverse artistic influences and demanding patrons. His commissions for the Farnese family, including a portrait of Duchess Elisabetta Farnese (who later became Queen of Spain), solidified his reputation as a painter of international standing.
His role as a court painter involved not only creating formal state portraits but likely also more intimate depictions of the ducal family. These commissions required a delicate balance of flattery, accurate representation, and artistic skill, all of which Delle Piane possessed in ample measure. His success in this capacity underscores his ability to navigate the complex social and political dynamics of courtly life.
Contemporaries, Collaborations, and Artistic Milieu
Giovanni Maria Delle Piane operated within a rich and sometimes competitive artistic milieu in Genoa. As mentioned, he studied with Giovanni Enrico Vaymer in Rome, and their careers would continue to intersect in Genoa. Both artists contributed to the city's reputation for fine portraiture, and while they may have been rivals for commissions, such competition often spurred artistic innovation.
He is also known to have collaborated with or worked alongside other artists. Carlo Giuseppe Ratti, who later became his biographer, was a painter and art historian whose writings provide invaluable information about Delle Piane and other Genoese artists. The relationship between Delle Piane and Domenico Parodi, another prominent Genoese artist known for sculpture and painting, is described as complex. They collaborated on some projects, but sources suggest Delle Piane sometimes preferred to work independently. Parodi, like Domenico Piola, ran a large and influential workshop, and interactions between these leading figures were common.
The artistic scene in Genoa also included figures like Alessandro Magnasco, known for his highly individualistic and dramatic genre scenes, quite different in temperament from Delle Piane's polished portraits, yet indicative of the diverse artistic production in the city. The legacy of earlier decorative painters like Giovanni Battista Carlone and his family also continued to inform the visual culture of Genoa's palaces and churches. Antonio Maria Piola, son of Domenico, was another contemporary active in the Genoese art world, known for his involvement with the Casa Piola workshop and his engravings after masters like Peter Paul Rubens. While direct, extensive collaboration between Delle Piane and Antonio Maria Piola isn't clearly documented, their paths would have undoubtedly crossed in Genoa's relatively close-knit artistic circles.
Later Years, Legacy, and Students
Giovanni Maria Delle Piane remained active into his later years, continuing to produce portraits and other works. He passed away in Genoa in 1745, leaving behind a significant body of work that had a lasting impact on Genoese portraiture. His ability to blend the formal dignity required of aristocratic portraiture with a sense of psychological depth and painterly finesse set a high standard.
He is also recorded as having trained students, some of whom were sent to Rome for further study, while others received their education locally under his guidance. While a comprehensive list of his pupils is not readily available, his influence would have extended through these younger artists, helping to perpetuate the stylistic trends he championed. The practice of sending promising students to Rome was common, allowing them to experience firsthand the masterpieces of antiquity and the High Baroque, much as Delle Piane himself had done.
A notable act in his later life was the donation of his valuable collection of paintings to the Collegio in Genoa, an institution of learning. These works had been inventoried in his Roman home, suggesting he maintained connections with Rome throughout his career. This act of philanthropy ensured that future generations could study and appreciate these artworks, contributing to the cultural heritage of his city.
Conclusion: Mulinaretto's Enduring Significance
Giovanni Maria Delle Piane, "Il Mulinaretto," was more than just a skilled craftsman; he was an astute observer of character and a sophisticated artist who successfully navigated the demands of elite patronage. His portraits are valuable historical documents, offering insights into the appearance, attire, and aspirations of the Genoese and Parmese aristocracy during a period of significant cultural and social change.
His synthesis of the robust Genoese painting tradition with the elegance of French courtly portraiture, particularly the style of Hyacinthe Rigaud, and the foundational lessons from his master Baciccio, resulted in a distinctive and influential body of work. He stands as a testament to Genoa's vibrant artistic culture in the late Baroque and early Rococo periods, a painter whose canvases continue to speak of an era of opulence, refinement, and a deep appreciation for the art of representation. His legacy is preserved not only in the numerous portraits that grace public and private collections but also in the historical accounts, like those by Ratti, that acknowledge his pivotal role in the Genoese school of painting.
