Madonna with Child between saints and angels, Neapolitan school, mid 18th century, copper oil, measures 37×44 cm. Attributable to Sebastiano Conca, although on the back there appears a posthumous script attributed to Vittorio D’Anna. Sebastiano Conca was born in Gaeta in 1680 and died in the same city in 1764. Also called “The Knight” was the eldest of ten brothers. Daddy Erasmus was devoted to trade and the second-born Don Nicolò was archdiocese of the cathedral of Gaeta. Sebastiano attended the Neapolitan school of Francesco Solimena for over 15 years. From 1706 he moved to Rome with his brother Giovanni, where he joined Charlemagne and performed a profitable activity as a frescoer and altar artist until the 1750s. In contact with the latter, his exuberant artistic style was partially moderated. In Rome, patronized by Cardinal Ottoboni, he was presented to Pope Clemente XI who assigned him the fresco depicting Jeremiah in the Basilica of St. John Lateran. For the painting he was rewarded by the pope with the title of knight and the cardinal with a diamond cross. In 1710 he opened his academy, the so-called Academy of Nude, attracting many students from all over Europe, including Pompeo Batoni, the Sicilians Olivio Sozzi and Giuseppe Tresca and Carlo Maratta, who served to spread his style throughout the continent. In 1729 he became part of the Accademia di San Luca and became director from 1729 to ’31 and from 1739 to ’41. In August 1731 the painter was called to Siena to freshen the apse of the Church of the Most Holy Anniversary, for willful will of the rector of Santa Maria della Scala, Ugolino Billò. The work was completed in April 1732. With the “Probatica Piscina” (or “Siloan Swimming Pool”), Conca gained the widespread admiration of contemporaries. In particular, the wide work of the work and the wise composition were appreciated, faithful to the evangelical tale and full of scrupulous details. He later served as a servant of the Savoy court, and worked at the oratory of San Filippo and at the church of Santa Teresa in Turin. In 1739 he wrote a book called Ammonimenti, containing moral and artistic precepts and dedicated to all young people who wanted to become painters. After returning to Naples in 1752, Conca passed, from classical experiences, to the most grandiose canons of the late baroque and rococo and inspired above all to the works of Luca Giordano. With the help of Vanvitelli, he received honors and assignments from Charles III of Bourbon and the most powerful Parthenopean religious orders. His most demanding works in recent years have been destroyed, while numerous piles of altars in Naples have been left, textiles sent to Sicily, the paintings performed for the Benedictines of Aversa (1761) and Stories of St. Francis from Paola, executed between 1762 and 1763 for the Friars Minor of the Sanctuary of Santa Maria di Pozzano in Castellammare. The Royal Decree was elevated to noble rank in 1757. The reasons for its glorious success can be recognized in its great ability to mediate the various artistic components of the century: the grandiose and grandiose scenography, learned in the years with Solimena, and the most Shaped by the Maratta reformist classicism. The Conca’s ability was thus to measure with tradition as well as with the cautious novelty of the moment, tapping and amplifying the various and manifold components of the late Baloch language from time to time. Among his best students is Gaetano Lapis, also known as the Carraccetto. A fair celebrity also had the nephew of Sebastiano, Roman Tommaso Conca. Sebastiano Conca has left countless works, estimated at about 1200 pieces.