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Interior of Basilica of San Lorenzo
new4/Giovanni Migliara-298237.jpg
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Interior_of_Basilica_of_San_Lorenzo
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Oil on canvas
Milan,Milan Museum
1822
Italy
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Veduta dei dintorni di Lecco
new25/Giovanni Migliara-656696.jpg
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Veduta_dei_dintorni_di_Lecco
1815(1815) and 1820(1820)
Medium Oil on canvas
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Veduta di piazza del Duomo in Milano
new25/Giovanni Migliara-679435.jpg
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Veduta_di_piazza_del_Duomo_in_Milano
Date 1819(1819)
Medium Oil on canvas
Dimensions Height: 47 cm (18.5 in). Width: 61 cm (24 in).
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Veduta di Palazzo Ducale a Venezia
new25/Giovanni Migliara-774938.jpg
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Veduta_di_Palazzo_Ducale_a_Venezia
1815(1815)
Medium Oil on canvas
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Veduta di Palazzo Ducale a Venezia
new25/Giovanni Migliara-376688.jpg
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Veduta_di_Palazzo_Ducale_a_Venezia
1815(1815)
Medium oil on canvas
Dimensions Height: 34.7 cm (13.7 in). Width: 45 cm (17.7 in).
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Giovanni_Migliara
Italian 1785-1837
He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.
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