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Painting Collections Visive EMOZIONIPAINTING COLLECTIONS VISIVE EMOZIONI VISIVE PAINTING COLLECTIONS TELEARTETV: ALL ABOUT US The story of Telearte began in Rome in 2000 out of passion and infinite love for the world of art. It is a story told through the endless discovery of furniture, paintings, objects, and works of art that tell of eras and people, a constant motivation for our professional growth. A growth that begins with our collaborators’ great and profound experience who are experts in the field with proven international expertise and dedicated to daily research. The desire to open a window to the world through the medium of television has been the springboard for the company to establish itself as a leader in the sector. TELEARTETV La storia di Telearte inizia a Roma nel 2000 per passione e amore infinito verso il mondo dell’arte. E’ una storia narrata attraverso la scoperta continua di mobili, dipinti, oggetti ed opere d’arte che raccontano di epoche e persone, stimolo continuo per la nostra crescita professionale. Una crescita che inizia già con la grande e profonda esperienza dei nostri collaborato- ri che sono esperti conoscitori della materia di comprovata competenza internazionale e dediti alla ricerca quotidiana. La volontà di aprire una finestra verso il mondo attraverso il mezzo televisivo, è stata per l’azienda il trampolino di lancio per affermarsi come leader nel settore. The art collection La collezione Tuscany Toscana A05140 A05140 Umbria, first half of the 16th century Umbria, 1° metà XVI sec. Saint Catherine of Alexandria Santa Caterina d’Alessandria Tempera on panel, 24,2x11 in. Tempera su tavola, cm 61.5x28 Euro 10.000 Euro 10.000 This tempera on wood depicts Saint Catheri- Questa tempera su tavola raffigura una Santa ne of Alexandria and, according to the sixte- Caterina d’Alessandria e come da buona tra- enth-century tradition, was probably part of dizione cinquecentesca, faceva probabilmente a group of saints gathered to decorate an al- parte di un gruppo di santi raccolti per deco- tarpiece or a chapel. The Saint is recognizable rare una pala d’altare o una cappella. La san- by her most typical attributes: with one hand, ta è riconoscibile dai suoi più tipici attributi: she holds the palm of martyrdom and the con una mano sorregge la palma del martirio other the sword with which she will be behe- e con l’altra la spada con la quale verrà deca- aded. At her feet lies a piece of the wheel pitata. Ai suoi piedi giace un pezzo della ruota she was tortured with, which broke while her con cui venne torturata e che si ruppe mentre executioners were using it, thus forcing them i suoi carnefici la stavano utilizzando, il che li to opt for a quicker death. Although it is the obbligò ad optare per una morte più veloce. work of an unknown artist, it is presumably the Sebbene sia un’opera di un ignoto artista, è work of an Umbrian painter from the first half presumibile attribuirne la paternità ad un pit- of the XVI century. Although it is a far cry from tore umbro della prima metà del XVI secolo. the Perugian innovations of those years, the Siamo di certo lontani dalle innovazioni pe- painter nevertheless shows an initial sensibility ruginesche in atto in quegli anni, ma nondi- towards landscape research, in the steadiness meno il pittore mostra una precoce sensibilità of extensive colored backgrounds and in the nei confronti della ricerca paesaggistica, nella atmospheric rendering, which is very clear, ba- stesura delle ampie campiture di colore e nel- lanced, and luminous. la resa atmosferica, molto chiara, equilibrata e luminosa. Bibl.: F. Todini, La pittura umbra dal Duecento al pri- mo Cinquecento, Milano 1989, I, pp. 313-317; II, pp. 601-608. 8 9 A04481 Tuscan painter, 17th century Madonna and Child, St. John the Baptist, St. Francis and Angels Oil on canvas, ext. 50,5x59,8 in., int. 42,1x51,1 in. Euro 8.500 The Florentine drawing is always present and clearly visible in the construction of the figures. Still, the study of colour is influenced both by the innovations produced in the Nordic area and Caravaggio in Rome. The figure of St. John the Baptist, in particular, shows a certain leaning towards Merisi’s lesson. Although the painter removed from the dramatic rendering and picto- rial quality demonstrated by the Master. The composition is well-calibrated and balanced, both chromatically and in the arrangement of the characters. A04481 Pittore toscano del XVII secolo Madonna con Bambino, San Giovanni Battista, San Francesco e Angeli Olio su tela, cm est. 128.5x152, int. 107x130 Euro 8.500 In questo dipinto di ambito toscano, sono ben visibili alcune delle tendenze assorbite dal pittore dalla cultura toscana della prima metà del XVII secolo; il disegno fiorentino è sempre presente e ben visibile nella costruzione delle figure, ma lo studio del colore risente sia delle innovazioni prodotte in campo nordico ma anche quelle ad opera del Caravaggio a Roma. È la figura di San Giovanni Battista in particolare che dimostra una certa propensione verso la lezione del Merisi, nonostante il pittore sia molto lontano dalla resa drammatica e dalla qualità pittorica dimostrata dal maestro; la composizione è ad ogni modo ben calibrata ed equilibrata, sia cromaticamente che nella disposizione dei personaggi. 10 11 A05014 A05014 Domenico Beccafumi, follower of Domenico Beccafumi, ambito di (Monteaperti, 1486 - Siena, 1551) (Monteaperti, 1486 - Siena, 1551) Holy Family Sacra Famiglia Oil on wood, ext. 36.6x29.5 in., int. 27.5x21.6 in. Olio su tavola, cm est. 93x75, int. 70x55 Euro 8.000 Euro 8.000 “He was a very capricious man, and everything “Era un uomo capricciosissimo, e gli riusciva was possible for him”: this is how Vasari descri- ogni cosa”: è così che il Vasari ci parla del Bec- bes Beccafumi. Heir to the great Sienese pain- cafumi. Erede della grande tradizione pittorica ting tradition, he was, however, also a tireless senese fu però anche un instancabile sperimen- experimenter, a creator of compositions that tatore, creatore di composizioni che fondono freely and sensitively blend classicist presup- positions with the directives of early Manneri- con libertà e sensibilità i presupposti classicisti sm. This oil on canvas reflects the production con le direttive del primo Manierismo. Quest’o- of a mature Beccafumi, the most Sienese one. lio su tela guarda molto alla produzione del This anonymous painter may be looking to the Beccafumi maturo, quello più senese: questo works of Mecherino in the second half of the anonimo pittore guarda forse alle opere del sixteenth century, when the painter returned Mecherino del secondo ventennio del Cinque- from Rome to Siena after meeting Raphael in cento, quando il pittore torna da Roma a Siena the Vatican Rooms, and in his hometown, he dopo aver conosciuto il Raffaello delle Stanze cultivated good relations with other painters Vaticane e nella sua città natale coltiva buoni of his time, in particular with the foreigner So- doma. The unknown painter here accentua- rapporti con gli altri pittori suoi contempora- tes the luminist contrast typical of the master, nei, in particolare con il conterraneo Sodoma. enhancing the power of the candid faces of L’ignoto pittore qui acuisce il contrasto lumini- the protagonists as they emerge from the sha- stico caratteristico del maestro, rendendo mol- dows. The brushstrokes are of excellent quali- to forte l’emergere dei volti candidi dei prota- ty, refined and soft, almost in contrast with the gonisti dalle tenebre; la pennellata è di grande inventive, ‘’eccentric’’ style of the mature Bec- qualità, raffinata e morbida, quasi in contrasto cafumi. The composition is very well balanced. con l’inventiva quasi “eccentrica” del Beccafu- Despite the very close-up devoted entirely to the Holy Family, the painter skillfully manages mi maturo. La composizione è molto equilibra- to render a dark but deep landscape, meagre ta e, nonostante il primissimo piano dedicato but essential to give a work of this intensity the interamente alla Sacra Famiglia, il pittore rie- breathing space that allows us to thoroughly sce a rendere abilmente uno scuro ma profon- enjoy its observation. do paesaggio, scarno ma essenziale per dare ad un’opera di questa intensità il respiro che ci permette di godere appieno della sua osser- vazione. Bibl.: Domenico Beccafumi e il suo tempo, catalogo della mostra a cura di Piero Torriti, Milano 1990. 12 13 A03864 Francesco Francia, follower of (Bologna, 1460 ca. - Bologna, 1517) Pietà with Virgin and Saint John Oil on panel, 43,8x29,5 in. Euro 40.000 The serenity that a table of this quality transmits removes the feeling of being observing a drama- tic or, at least, painful scene from the viewer. The representation of the body of Christ supported by the Virgin and St. John is quiet and affable; it is the result of a culture that has made a constant search of grace, composure and dignified representation of affections. We refer to this painting while speaking about the sphere of the Emilian master Francesco Raibolini, known as Francesco Francia, who was always considered by Vasari as a painter of a meek nature who spent part of his production plagued by an unsustainable competition with the genius of the early Italian six- teenth century: Raffaello. But although we are not in front of an autograph by Raibolini, a panel of this pictorial quality demonstrates a diffusion of the painter’s language that goes beyond the simple “research on Urbinate”, and it rather assumes quite recognizable features of the Ferrara and Po Valley tradition: in the painting we see a compositional structure, a smooth brushstroke and enlightened but not too bright colors like those of Sanzio, which refer more to the Perugian heritage.
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