Oil on Copper from the Emilian School, Holy Family

Total Page:16

File Type:pdf, Size:1020Kb

Oil on Copper from the Emilian School, Holy Family anticSwiss 23/09/2021 18:55:09 http://www.anticswiss.com Oil on copper from the Emilian school, Holy Family FOR SALE ANTIQUE DEALER Period: 17° secolo -1600 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:23cm Width:17.5cm Material:Olio su rame Price:2600€ DETAILED DESCRIPTION: Emilian school, 17th century Holy family Oil on copper applied to panel, 23 x 17.5 cm - with frame 38 x 34 cm The work in question presents an elegant Holy Family depicting the Virgin with the Child in her arms, lying on the trunk of the tree, while behind her stands St. Joseph. The elements of particular importance are the figure of the father of Jesus, who stands protective of the family and the landscape context with the imposing tree trunk that acts as a scenic backdrop for the composition. These elements become necessary to set the painting on two parallel diagonals, one created by the characters themselves, which are grouped following a vertical trend to close with the figure of Joseph; the other, however, delineated by natural elements. Copper is characterized by the evident preciousness in the drapery cut by decisive lines, visible in particular in the dress that curls on Mary's lap, but also for the profusion of gold used in finishing the edges of the woman's mantle and the haloes. Even the rendering of the incarnate becomes precious in the distinction between the ethereal and rosy ones of the Madonna and Child and the clearly darker one of Joseph, as if to underline the divine and earthly nature of the characters. See some works by Ippolito Scarsella from Ferrara as a comparison, in particular for the setting of the scene with the mighty shrub and the pose of the Holy Family, as can be seen in the paintings of the Borghese Gallery, in the two in the private collection, as well as the one at the Ravenna Art Museum. Born in Ferrara and known within the Ferrara school, Ippolito Scarsella, known as Scarsellino, was a Mannerist painter. His first apprenticeship took place with his father, Sigismondo Scarsella (1530-1614), who was a painter and architect. Scarsellino then expanded his sources of inspiration, traveling to Bologna and then to Venice. He remembers a rather long internship at the Veronese workshop, operating in Venice, at whose workshop he had the opportunity to meet other painters of the Venetian school. Here he assimilates the mannerist style and the revolution of movement and color imposed by Titian. As soon as he returned to Ferrara, Scarsellino 1 / 3 anticSwiss 23/09/2021 18:55:09 http://www.anticswiss.com began working at the Palazzo dei Diamanti, together with the Carracci family, especially Ludovico (1555-1619). Among the people of Ferrara the work of Dosso Dossi (1490-1542) was very important for him and he also studied the work of Parmigianino (1503-1540). Most of the paintings were commissioned by religious institutes and still in Ferrara it is easy to find works by Scarsellino in the major churches of the city. https://www.anticswiss.com/en/fine-art-antiques/oil-on-copper-from-the-emilian-school-holy-family-23267 2 / 3 anticSwiss 23/09/2021 18:55:09 http://www.anticswiss.com Gallery 3 / 3 Powered by TCPDF (www.tcpdf.org) Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • Animal Life in Italian Painting
    UC-NRLF III' m\ B 3 S7M 7bS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA PRESENTED BY PROF. CHARLES A. KOFOID AND MRS. PRUDENCE W. KOFOID ANIMAL LIFE IN ITALIAN PAINTING THt VISION OF ST EUSTACE Naiionai. GaM-KUV ANIMAL LIFE IN ITALIAN PAINTING BY WILLIAM NORTON HOWE, M.A. LONDON GEORGE ALLEN & COMPANY, LTD. 44 & 45 RATHBONE PLACE 1912 [All rights reserved] Printed by Ballantvne, Hanson 6* Co. At the Ballantyne Press, Edinburgh / VX-/ e3/^ H67 To ©. H. PREFACE I OWE to Mr. Bernhard Berenson the suggestion which led me to make the notes which are the foundation of this book. In the chapter on the Rudiments of Connoisseurship in the second series of his Study and Criticism of Italian Art, after speaking of the characteristic features in the painting of human beings by which authorship " may be determined, he says : We turn to the animals that the painters, of the Renaissance habitually intro- duced into pictures, the horse, the ox, the ass, and more rarely birds. They need not long detain us, because in questions of detail all that we have found to apply to the human figure can easily be made to apply by the reader to the various animals. I must, however, remind him that animals were rarely petted and therefore rarely observed in the Renaissance. Vasari, for instance, gets into a fury of contempt when describing Sodoma's devotion to pet birds and horses." Having from my schooldays been accustomed to keep animals and birds, to sketch them and to look vii ANIMAL LIFE IN ITALIAN PAINTING for them in painting, I had a general recollection which would not quite square with the statement that they were rarely petted and therefore rarely observed in the Renaissance.
    [Show full text]
  • Cna85b2317313.Pdf
    THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him.
    [Show full text]
  • Dosso Dossi, the Painter
    Oltrepò Mantovano Itineraries Dosso Dossi, the painter Giovanni di Niccolò Luteri, commonly known as Dosso Dossi (San Giovanni del Dosso, 1474 - Ferrara, 1542), was an Italian painter. He was the main artist in the Este Castle in Ferrara in the early sixteenth century, the era of Ariosto, whose fantastic stories was a striking interpreter. His works are exhibited in the most prestigious museums around the world. Biographical data on the artist is poor. We know where he was born, but not when. His father was from Trentino and was treasurer of the court of Ferrara. In 1485 it is documented that the family lived in Dosso della Scaffa (today San Giovanni del Dosso). As the father became the owner of the small farm in Dosso della Scaffa, he passed down his children the name of the patron saint of the village: John and Baptist. Dosso Dossi in San Giovanni del Dosso. In his education, Dosso did not directly draw from the prestigious Ferrara school of the fifteenth century, but was influenced by it only after having learned the secrets of Venetian painters, especially Giorgione. At these basic teachings, he then added references to classical culture and to Raffaello, as well as his own well-developed narrative attitude. In 1510 he was in Mantua at the service of the Gonzaga, and in 1514 he was appointed court painter in Ferrara. In this role, he was involved in the main decorative challenges of Alfonso d'Este, such as Alabaster Camerini. With frequent travels (to Florence, Rome and especially Venice), Dosso always stayed abreast to what was new in art in the neuralgic artistic centers of the peninsula, starting a profitable dialogue with Tiziano, from whom he recalled the richness of color and the wide openings of landscapes.
    [Show full text]
  • Das Werk Der Dossi
    ?;lM»i!;li5i^^lii[l^El^;J!M .15 : H.MENDELSOHN / DAS WERK DER DOSSI 2 O w Z w m Ü ci o <j cn o Q O iiL^ HENRIETTE MENDELSOHN DAS WERK DER DOSSI MIT FÜNFUNDSECHZIG ABBILDUNGEN MÜNCHEN GEORG MÜLLER ® EUGEN RENTSCH VERLAG 19 14 Ab EINBANDZEICHNUNG \'ON PAUL RENNER COPYRIGHT 1913 By GEORG MÜLLER 'S) EUGEN RENTSCH IN MÜNCHEN An meinen Leser ein unzeitgemäßes Vorwort Kunstwissenschaftliche Bücher werden heute meist durchblättert, kaum gelesen. Trotz dieser Wahrnehmung habe ich bei der Gestaltung des Buches noch ganz altmodisch an einen Leser gedacht. Dich, den unbe- kannten Freund meiner jahrelangen Arbeit, will ich in den Gang der Forschung selbst einführen. Im ersten Kapitel geleite ich dich auf einen Berg voll Literatur: alle wesentlichen Werke sind hier versammelt, denen wir die ,, Kenntnis der Dossi" verdanken. Als Aussicht breitet sich die Schätzung der Dossi während fünf Jahrhunderte vor dir aus. Das Kapitel ,, Sichere Tatsachen" fischt aus dem Meer der Überlieferung den festen Bestand heraus, auf dem das Leben und ^^'irken der Brüder sich aufbaut. Der Prüfung des Wortes folgt die Prüfung des Werkes. ,,Stil und künstle- rische Gepflogenheiten" legen auf Grund der den Dossi allgemein zuer- kannten Bilder die künstlerische Eigenart der beiden Brüder fest. Das Ergebnis aller Kritik und Sichtung findet der Leser im vierten Kapitel in der ,, künstlerischen Entwicklung der Brüder". Im zweiten Teil, dem beschreibenden und kritischen Verzeichnis der Werke, wird mir der Leser wohl kaum mehr Schritt für Schritt folgen. Zwar habe ich auch hier an ihn und eine zusammenhängende Fassung des Ganzen gedacht. Im Einzelnen versuchte ich in die Bildbeschreibung, wo es anging, etwas von der Stimmung hinüberzuretten, die ein großes Kunst- werk aushaucht.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • Titian's Later Mythologies Author(S): W
    Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected
    [Show full text]
  • Hebrew, Hieroglyphs, and the Secrets of Divine Wisdom in Ludovico Mazzolino's Devotional Paintings
    -5­ Hebrew, Hieroglyphs, and the Secrets of Divine Wisdom in Ludovico Mazzolino's Devotional Paintings Giancarlo Fiorenza ecrecy operated on many levels within Renaissance court society. At Ferrara, the mecha­ nisms of secrecy helped shape and define the rule of Alfonso I d'Este (1476-1534; duke S from 1505). His biographer, Paolo Giovio, observed that the duke frequently retreated to a secret room ("stanza secreta") in the Ferrarese castle, which was set up like a workshop ("bot­ tega"), in order to create a variety of decorative and sculpted objects, activities he performed to relax his spirit and escape idleness ("per fuggire l'otio") .1 Within the se private chambers- rooms not so much hidden as separated from the common areas and reserved for the duke-Alfonso combined solitude with industry, and leisure with sprezzatura, leaving his subjects to marvel at the virtuosity fueling princely performance.2 Visitors granted access to these spaces bore witness to the practice of seclusion as an agent of production and authority, an ideology that informs other works of art celebrating the duke: from the inscriptions invoking quies and solus on Antonio Lombardo's marble reliefs (ca. 1508), once displayed in the private suite ofrooms in the ducal resi­ dence known as the camerini d'alabastro (possibly near the stanz a secreta mentioned above),3 to Mercury's gesture of silence in Dosso Dossi's Jupiter Painting Butterflies (ca. 1524; National Art Collection, Wawel Royal Castle, Kark6w) (fig. 5.1), executed most likely for the Villa Belvedere, a I. G iovio, Libe1· de vita, 7; Italian tran slati on by Ge lli, La Vita di Alfonso da Es tc, 1S - 16 .
    [Show full text]
  • Countermagical Combinations by Dosso Dossi
    Countermagical combinations by Dosso Dossi CHRISTOPHER S. WOOD books, classical philology, and growing doubts about the long-term success of the Crusades. Unlike the oral The witch emerged as a subject in European art in the tradition that carried the Roland legend for three late fifteenth century, at the very moment when the centuries until it was written down around 11 00, sacred image was beginning to lose its automatic Ariosto's poetry understands too well its own origins in centrality within the careers of artists and the mere authorship. His poem, disillusioned, knows itself imaginations of patrons. The witch of painting, engraving, to be a ~ounterfeit.~Later Ariosto points out that or woodcut figured a lost ground of powerful mimetic magical, prophetic painting has become equally rare, an magic to which the modern cult image no longer seemed art "extinguished in our day" (33.5). Romanticism may securely connected. The profane, disenchanted artwork have invented the idea of a secularized, disenchanted offered a different kind of magic. The Enchantress Renaissance. And yet secularization and disenchantment painted by the Ferrarese court painter Dosso Dossi, were already aspects of early sixteenth-century culture's datable to the second half of the 1510s, is the ideal test self-understanding. of this historical model (fig. I).' Once there was magic, Ariosto says, and now no Dosso's colleague at the court of Duke Alfonso d'Este longer. Another, metaphorical sort of magic, however, was the poet Ludovico Ariosto. In the Orlando Furioso, sexual enchantment, might not be entirely a thing of the published in Ferrara in 151 6, Ariosto reports that the past (8, 1): deceptive arts of enchantment, the arts of his fictional witches Alcina and Melissa, are arts "to our age Oh quante sono incantatrici, oh quanti unknown," arti .
    [Show full text]
  • The History of Painting in Italy, from the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
    THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS, TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED gmn tj)e O^rtgtnal Btaltan OF THE ABATE LUIGI I.ANZI. By THOMAS ROSCOE. IN SIX VOLUMES. VOL. VI. CONTAINING THE INDEXES. LONDON: PKINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. ND }. IVl'Cieery, Tooks Court, Cliancery-Iane, Londou. J. PAUL GETTY MUSEUM UBRABX CONTENTS OF THE SIXTH VOLUME. Page Index I. Professors of Painting mentioned in the 1 worJc ; together with the dates, 8fc. ... Index II. Historical and Critical Publications re- lating to the Art, cited in the Work . .167 Index III. Of some of the most important Matters contained in the Work 197 that ** ^''itft regard to the Abbreviations of words adapted in the above Indexes, to dates birth, and that d. to the deaths of artists. The rest »f b. is applied of of lUill be perfectly intelligible to the English reader. FIRST INDEX. Artists referred to in this work, noting the periods of their Birth and Death, and the authoritiesfor the dates. A. Abate (!') Ciccio, v. Solimene. Abati, or dell' Abate, Niccolo, a Modenese, b. 1509 or 1512, d. 1571. Tiraboschi. Vol. iv. p. 46, and vol. v. pp. 48, 57. • Giovanni, his father, d. 1559. Tiraboschi. iv. 48. Pietro Paolo, brother of Niccolo. Tiraboschi. iv. 48. — Giulio Camillo, son of Niccolo. Tiraboschi. ib. Ercole, son of Giulio, d, 1613. Tiraboschi. ib. Pietro Paolo, son of Ercole, d. 1630, aged 38. Tira- boschi. iv. 50. Abatini, Guido Ubaldo, of Cittk di Castello, d.
    [Show full text]
  • The Feast of the Gods
    60 review. Number 327, October 2020 I THE ART NEWSPAPER BOOKS Reviews David Alan Brown Giovanni Bellini. The Last Works Skira, 400pp, €75 (hb) Julius von Schlosser thought the most highly desirable art-history book would be a monograph based on a single work of art, emphasising the “island” nature of a masterpiece. David Alan Brown mag- nificent study of Bellini’sThe Feast of the Gods (1514) – the result of a long acquaint- ance with the painting during his more than four decades at the National Gallery of Art, Washington, DC – is just such a book. Despite a title that promises to look at all the late works, which he does in detail, the book continually revolves around The Feast of the Gods, and presents absolute novelties in interpretation that Computer simulation of Bellini’s The Feast of the Gods (1514) without the unsympathetic interventions by Dosso Dossi and Titian (left), and the original painting in Washington, DC will contribute to our understanding of Venetian Renaissance painting forever. Brown introduces his study with the observation that Bellini, who enjoyed longevity, had the luck or misfortune to A spotlight on ‘The Feast of the Gods’ live on into the 16th century. He implies that The Feast is a 15th-century painting More than 40 years’ study of Bellini has gone into this outstanding book. By despite its date. Brown accepts Pietro Jaynie Anderson Bembo’s characterisation of Bellini’s creative practice, as defined for Isabella Equicola, then an analysis of the classi- non-invasive multispectral scanning. painting. The new computer simulation appears to be too tight to allow for the d’Este, Marchioness of Mantua, when cal texts that reveal how Bellini departed (There is a detailed appendix explaining of The Feast of the Gods as it may have left recognition of individual hands.
    [Show full text]
  • Queen Christina of Sweden's Construction of A
    DISPLAY AS IDENTITY: QUEEN CHRISTINA OF SWEDEN’S CONSTRUCTION OF A PUBLIC IMAGE THROUGH HER STANZA DEI QUADRI By KATHERINE AUNE Bachelor of Arts, 2012 Florida State University Tallahassee, Florida Submitted to the Faculty Graduate Division of the College of FIne Arts Texas Christian University In partIal fulfIllment of the requIrements for the degree of MASTER OF ARTS May, 2015 DISPLAY AS IDENTITY: QUEEN CHRISTINA OF SWEDEN’S CONSTRUCTION OF A PUBLIC IMAGE THROUGH HER STANZA DEI QUADRI ThesIs Approved: ___________________________________________________ Dr. Babette Bohn, Major Professor ____________________________________________________ Dr. Lindsay Dunn _____________________________________________________ Dr. C. D. Dickerson, Curator of European Art, KImbell Art Museum, Fort Worth _____________________________________________________ Dr. Joseph Butler, AssocIate Dean for the College of FIne Arts II Copyright © 2015 by KatherIne Aune All RIghts Reserved III ACKNOWLEDGMENTS I would like to thank my thesIs advIsor and committee chaIr, Dr. Babette Bohn, for her tIme and guIdance. Her support and advIce have pushed me beyond my comfort zone to become a better wrIter and art hIstorIan. I also wIsh to thank Dr. Lindsay Dunn and Dr. C. D. DIckerson for agreeIng to be on my thesIs committee and for theIr tIme and suggestions. ThIs thesIs has benefItted greatly from theIr comments and encouragement. I would lIke to acknowledge Dr. Amy Freund, Dr. Mark ThIstlethwaIte, Dr. Lori Diel, and Dr. Fran Colpitt for expandIng my knowledge of art hIstory and makIng my graduate experIence excItIng and challenging. To my fellow MA candIdates, Alejo, Taylor, AurIel, Dawn, and Meg, thanks for your support, laughter, and friendship. Thanks to Sharon Gouwens and Edith Riley- PeInado for always beIng avaIlable to lIsten and commiserate.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 1, Winter 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Scholars Committee member Tenley Bick, exploring the theme of “Processi italiani: Examining Process in Postwar March 21, 2017 Italian Art, 1945-1980.” The session was well-attended, inspired lively discussion between the audience and Dear Members of the Italian Art Society: speakers, and marks our continued successful expansion into the fields of modern and contemporary Italian Art. Dario As I get ready to make the long flight to New Donetti received a Conference Travel Grant for Emerging Orleans for RSA, I write to bring you up to date on our Scholars to present his paper “Inventing the New St. Peter’s: recent events, programs, and awards and to remind you Drawing and Emulation in Renaissance Architecture.” The about some upcoming dates for the remainder of this conference also provided an opportunity for another in our academic year and summer. My thanks are due, as series of Emerging Scholars Committee workshops, always, to each of our members for their support of the organized by Kelli Wood and Tenley Bick. IAS and especially to all those who so generously serve CAA also provided the venue for our annual the organization as committee members and board Members Business Meeting. Minutes will be available at the members. IAS website shortly, but among the topics discussed were Since the publication of our last Newsletter, our the ongoing need for more affiliate society sponsored members have participated in sponsored sessions at sessions at CAA, the pros and cons of our current system of several major conferences, our 2018 elections have taken voting on composed slates of candidates selected by the place, and several of our most important grants have Nominating Committee, the increasingly low attendance of been awarded.
    [Show full text]