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130:(Musei di Strada Nuova, Palazzo Bianco, Genoa), in which Assereto moved away from his refined style with vivid colours to a bolder, more powerful style where theatrical effects of flaming torches and candlelight emphasize violent emotions. The work also shows the influence of northern Caravaggesque painters such as
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techniques. He continued to improve his technique and style during his twenties and thirties. During his visit to Rome in 1639 he discovered a flourishing interest in realism and
Caravaggism. His interest in realism and encouraged him to continue with his detailed description of heads and hands. It
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Most of
Assereto's works depict religious and history subjects, although he also produced some portraits. Throughout the decade in which he was a student, Assereto produced many works in a Baroque idiom, which were close in style and genre. He incorporated drama and emotion in his paintings with the
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In the 1640s
Assereto was active as a fresco painter. The artist was very successful in Genoa and in his later years many copies of his work were produced in his studio, some by his son Giuseppe Assereto. The artist was in his lifetime praised by the contemporary Genoese biographer
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His late works often depict figures at three-quarter-length and are characterised by a sober realism, a delicate psychological tension between the figures and the grave beauty of the still lifes. These works have been compared to works by Velázquez and
Murillo. An example is
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Gioacchino
Assereto was also active as a fresco painter. In the 1640s he painted frescoes for the Palazzo Granello and commissioned works for the Sant'Agostino church. Only fragments of these frescoes have been preserved.
145:. As a result, his compositions became more lively and agitated. He also introduced a greater emotional involvement in his works through the use of lights and colours that reveal the knowledge of the Venetian school. His
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He was active in Genoa. In 1639 Assereto he travelled to Rome where he visited the studios of various painters. He likely met
Genoese artists working in Rome, such as
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Camillo
Manzitti, "Gioacchino Assereto: tangenze giovanili con Bernardo Strozzi e nuove testimonianze figurative", in "Paragone", n. 61, 2005.
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M. Newcome. "Assereto, Gioacchino." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 14 May 2016
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may also have revealed to him the possibilities of compositions that depend on chiaroscuro rather than on colour.
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Tiziana
Zennaro, "Sull'attivitĂ giovanile di Gioacchino Assereto", in "Paragone", n. 549, Novembre 1995.
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Raffaele
Soprani, "Le vite de pittori, scoltori et architetti genovesi", pp. 167–173, Genova, 1674.
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151:(1640s), shows in the broad and phlegmatic figure of Christ the influence of the
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In the 1640s he devoted himself to an in-depth study of the works of Rubens and
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Roberto Longhi, "L'Assereto", in "Dedalo", VII, p. 362, 1926.
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was auctioned at Sotheby's on 10 December 2015, London, lot 174.
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period and one of the most prominent history painters active in
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An Unknown Early Painting and Some Other Works by Assereto
30:(1600 – 28 June 1649) was an Italian painter of the early
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371:17th-century Italian painters
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180:Esau sells his birthright
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118:In 1640 Assereto painted
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63:Giovanni Maria Bottalla
52:Giovanni Andrea Ansaldo
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159:in Genoa circa 1625.
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347:at Wikimedia Commons
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303:Ecce homo
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273:Archived
104:sfumato
32:Baroque
189:Notes
36:Genoa
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42:Life
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