Italian Painting 1280-1700
See also : Top 10 Painting Italy Italy II Ancient painting The Man Children Christianity Madonna and Child Renaissance
Chronology : 1150-1300 14th century 15th century 1460-1479 1480-1499 16th century 1500-1519 1520-1539 1540-1569 17th century 1620-1629
Chronology : 1150-1300 14th century 15th century 1460-1479 1480-1499 16th century 1500-1519 1520-1539 1540-1569 17th century 1620-1629
1280 Devotion with Cimabue
2019 SOLD for € 24M including premium
The Christian practice meets considerable transformations at the beginning of the 13th century. To maintain the devotion of the faithful, Dominicans and Franciscans need images. The formalistic figures of the Byzantine icons are not suitable. Gradually, Italian painters will rediscover the naturalism of the antique pictorial art.
In 1272 in Rome, a notarial act mentions as a witness a Florentine painter identified as "Cimabove". It is a nickname, meaning Head of Ox. This allusion to his obstinacy indicates that his maturity was already recognized. In his corpus which was certainly important, only one painting was documented during his lifetime. It was in February 1302, just before his death.
Two elements from a devotional work are formally attributed to Cimabue and dated around 1280 by Wikipedia. They are painted with egg tempera and gold background on a thick poplar board. The analysis of the edges made it possible to position the Madonna and Child as the top left of a panel and the Flagellation as the bottom right.
The Passion of Christ cannot end with the flagellation. Both paintings were part of the left panel of a diptych whose elements were cut long time ago as singles for a mercantile purpose. The whole hypothetical right panel is lost. Diptychs and polyptychs were common practice. Small in size, they were folded to be easily carried from one place of worship to another.
A third opus has just surfaced, on the theme of the Mocking of Christ. This piece of wood 25.8 x 20.3 cm with a pictorial surface of 24.6 x 19.6 cm is the element at the bottom left of the left panel. The edges perfectly match the other two elements, including the tunnels of the woodworms that had been severed during the separation.
This work is a fine example of a composition from the very beginning of the Italian Renaissance. The characters are human and the drapes are flexible. Christ is serene, contrasting with the emotion of the other characters. He is a little taller and his clothes are darker. The perspective is clumsy, with the inversion of a roof : at that time, engineers have not yet developed the relevant geometry.
The crowd is dense on both sides of Christ, with an undeniable although very subtle coordinated movement. The characters on the right, who include the thorn-crown setter, are pushing together while the fellows on the left resist this pressure for maintaining the standing Christ.
There is no auction history for any authentic artwork by Cimabue. The Mocked Christ is estimated between € 4M and 6M for sale on October 27 in Senlis by Actéon, an auction house that operates mainly in Compiègne. Please read the article prepared by the Interenchères bidding platform and watch the video shared by Artcento. The image is shared by Wikimedia.
In 1272 in Rome, a notarial act mentions as a witness a Florentine painter identified as "Cimabove". It is a nickname, meaning Head of Ox. This allusion to his obstinacy indicates that his maturity was already recognized. In his corpus which was certainly important, only one painting was documented during his lifetime. It was in February 1302, just before his death.
Two elements from a devotional work are formally attributed to Cimabue and dated around 1280 by Wikipedia. They are painted with egg tempera and gold background on a thick poplar board. The analysis of the edges made it possible to position the Madonna and Child as the top left of a panel and the Flagellation as the bottom right.
The Passion of Christ cannot end with the flagellation. Both paintings were part of the left panel of a diptych whose elements were cut long time ago as singles for a mercantile purpose. The whole hypothetical right panel is lost. Diptychs and polyptychs were common practice. Small in size, they were folded to be easily carried from one place of worship to another.
A third opus has just surfaced, on the theme of the Mocking of Christ. This piece of wood 25.8 x 20.3 cm with a pictorial surface of 24.6 x 19.6 cm is the element at the bottom left of the left panel. The edges perfectly match the other two elements, including the tunnels of the woodworms that had been severed during the separation.
This work is a fine example of a composition from the very beginning of the Italian Renaissance. The characters are human and the drapes are flexible. Christ is serene, contrasting with the emotion of the other characters. He is a little taller and his clothes are darker. The perspective is clumsy, with the inversion of a roof : at that time, engineers have not yet developed the relevant geometry.
The crowd is dense on both sides of Christ, with an undeniable although very subtle coordinated movement. The characters on the right, who include the thorn-crown setter, are pushing together while the fellows on the left resist this pressure for maintaining the standing Christ.
There is no auction history for any authentic artwork by Cimabue. The Mocked Christ is estimated between € 4M and 6M for sale on October 27 in Senlis by Actéon, an auction house that operates mainly in Compiègne. Please read the article prepared by the Interenchères bidding platform and watch the video shared by Artcento. The image is shared by Wikimedia.
1305 Giotto stopped at Rimini
2014 SOLD 5.7 M£ including premium
At the end of the thirteenth century, the small town of Rimini gained a political importance when Malatesta became its podesta. The condottiero embellished the city: Giotto realized for the cathedral the frescoes that were destroyed around 1450.
The date when Giotto was in Rimini is not documented but is certainly after his Assisi frescoes made in 1298. Through considerations on the evolution of his art, it is known that his work at Rimini is prior to his long stay in Padua started in 1303.
Giotto was one of the greatest innovators of Christian art. Superseding the stiff Byzantine style, he provided clever compositions featuring characters in flexible and communicating attitudes.
The beginning of the Rimini school relies on the images by Giotto. At that time when artistic innovations were slowly spreading, Rimini long remained limited in the intermediate style of the maestro before the innovations of Padua.
On July 9 in London, Sotheby's sells a sumptuous panel made between 1300 and 1305 in tempera on gold made by a follower of Giotto. In an exceptional condition of preservation, it is estimated £ 2M, lot 17.
The author is probably Giovanni da Rimini, one of the earliest Rimini painters best known for a copy dated 1309 from a Crucifix by Giotto and who tentatively must not be confused with Giovanni Baronzio.
This panel 53 x 34 cm shows biblical and hagiographic scenes in a bold composition joining vertically at the left side the upper two registers. It is the left wing of a diptych separated in the eighteenth century. The right wing displays in a stricter composition six episodes from the life of Christ. It is kept at the Galleria Nazionale d'Arte Antica in Rome.
POST SALE COMMENT
This exceptional and very ancient painting was sold for £ 5.7M including premium.
The date when Giotto was in Rimini is not documented but is certainly after his Assisi frescoes made in 1298. Through considerations on the evolution of his art, it is known that his work at Rimini is prior to his long stay in Padua started in 1303.
Giotto was one of the greatest innovators of Christian art. Superseding the stiff Byzantine style, he provided clever compositions featuring characters in flexible and communicating attitudes.
The beginning of the Rimini school relies on the images by Giotto. At that time when artistic innovations were slowly spreading, Rimini long remained limited in the intermediate style of the maestro before the innovations of Padua.
On July 9 in London, Sotheby's sells a sumptuous panel made between 1300 and 1305 in tempera on gold made by a follower of Giotto. In an exceptional condition of preservation, it is estimated £ 2M, lot 17.
The author is probably Giovanni da Rimini, one of the earliest Rimini painters best known for a copy dated 1309 from a Crucifix by Giotto and who tentatively must not be confused with Giovanni Baronzio.
This panel 53 x 34 cm shows biblical and hagiographic scenes in a bold composition joining vertically at the left side the upper two registers. It is the left wing of a diptych separated in the eighteenth century. The right wing displays in a stricter composition six episodes from the life of Christ. It is kept at the Galleria Nazionale d'Arte Antica in Rome.
POST SALE COMMENT
This exceptional and very ancient painting was sold for £ 5.7M including premium.
1470-1475 Descent into Limbo, by Mantegna
2003 SOLD for $ 28.6M including premium by Sotheby's
narrated in 2020
Andrea Mantegna was one of the most daring experimenters of the pictorial image, mixing perspective and foreshortening in an unprecedented sense of staging. In 1460 he was appointed court painter at Mantua, where his genius was recognized by the Gonzaga dynasty.
On January 23, 2003, Sotheby's sold for $ 28.6M including premium a Descent of Christ into Limbo, tempera and gold on canvas 39 x 42 cm painted circa 1470-1475. The image is shared by Wikimedia.
This theme is rare because it is only told in apocryphal scriptures. Between the Passion and the Resurrection, Christ makes a visit to Limbo where the virtuous patriarchs wait for the Messiah to open to them the gates of Paradise, closed since the fault of Adam.
The figures are standing on two floors as if by an ingenious theater machinery. Christ is seen from the back, bent over to comfort a patriarch who comes out at mid length from the abyss. At the same level as Christ in this world of the dead, five characters pray, four on the left and one on the right. They are naked except for a modest cloth around the belt.
The composition is designed with a remarkable balance divided in its center by the stick of Christ, creating a strong narrative tension although the main character, Christ, is not recognizable. Mantegna was possibly influenced by Donatello's formal studies for the interaction between the characters. Once again his independence from the traditional Christian iconography is extraordinary for his time.
On January 23, 2003, Sotheby's sold for $ 28.6M including premium a Descent of Christ into Limbo, tempera and gold on canvas 39 x 42 cm painted circa 1470-1475. The image is shared by Wikimedia.
This theme is rare because it is only told in apocryphal scriptures. Between the Passion and the Resurrection, Christ makes a visit to Limbo where the virtuous patriarchs wait for the Messiah to open to them the gates of Paradise, closed since the fault of Adam.
The figures are standing on two floors as if by an ingenious theater machinery. Christ is seen from the back, bent over to comfort a patriarch who comes out at mid length from the abyss. At the same level as Christ in this world of the dead, five characters pray, four on the left and one on the right. They are naked except for a modest cloth around the belt.
The composition is designed with a remarkable balance divided in its center by the stick of Christ, creating a strong narrative tension although the main character, Christ, is not recognizable. Mantegna was possibly influenced by Donatello's formal studies for the interaction between the characters. Once again his independence from the traditional Christian iconography is extraordinary for his time.
1493-1495 The Florentine Grace of Sandro Botticelli
2013 SOLD 10.5 M$ including premium
Sandro Botticelli is an empathetic artist. His art will never be outdated. Like Praxiteles and Picasso, he was able to take as a model the most beautiful woman in the world.
Botticelli's life is poorly documented, but his passion for his city, Florence, is the thread.
On January 30 in New York, Christie's sells a Madonna and Child with the young St John. This tempera on panel is estimated $ 5M. Waiting for the catalog, here is the link to the article shared by Artdaily when this painting was offered for sale at Maastricht in 2010. Of small size, 48 x 38 cm, it was designed for private devotion.
Botticelli's art is not narrative. The scene is by evidence located in Florence, and is not a Biblical story. The presence of John is only meaning that he is the patron saint of Florence. The three characters are graceful and communicate together with ardor. The faces are beautiful.
This work is dated around 1493-1495, the period of transition between the principate of Lorenzo de' Medici and the theocracy of Savonarola. The legend that he had himself brought his secular works in the Bonfire of the Vanities is not confirmed by Vasari, but it seems certain that his career as an artist became difficult afterwards.
POST SALE COMMENT
This small painting typical of the emotional art of Botticelli was sold $ 10.5 million including premium.
The image is shared by Wikimedia.
Botticelli's life is poorly documented, but his passion for his city, Florence, is the thread.
On January 30 in New York, Christie's sells a Madonna and Child with the young St John. This tempera on panel is estimated $ 5M. Waiting for the catalog, here is the link to the article shared by Artdaily when this painting was offered for sale at Maastricht in 2010. Of small size, 48 x 38 cm, it was designed for private devotion.
Botticelli's art is not narrative. The scene is by evidence located in Florence, and is not a Biblical story. The presence of John is only meaning that he is the patron saint of Florence. The three characters are graceful and communicate together with ardor. The faces are beautiful.
This work is dated around 1493-1495, the period of transition between the principate of Lorenzo de' Medici and the theocracy of Savonarola. The legend that he had himself brought his secular works in the Bonfire of the Vanities is not confirmed by Vasari, but it seems certain that his career as an artist became difficult afterwards.
POST SALE COMMENT
This small painting typical of the emotional art of Botticelli was sold $ 10.5 million including premium.
The image is shared by Wikimedia.
mid 1490s Virgin and Child at the Time of Savonarola
2013 SOLD 13 M$ including premium
On January 30 in New York, Christie's sells a small tondo by Fra Bartolommeo, on the subject of Virgin and Child. Still remaining in its original frame, this oil on panel is estimated $ 10M. It is a recent discovery.
The likely date proposed by the auction house, the mid-1490s, is the era of the iconoclastic dictatorship of Savonarola, the preacher of repentance.
The relationship between art and Christianity were already an intense concern in Florence at the end of the glorious principate of Lorenzo de' Medici. The dying Lorenzo had doubts about the merits of his work, and chose (but unsuccessfully) Savonarola as his last confessor.
Savonarola, whose memory of his bonfires horrifies the art lovers of today, was chasing the vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
Baccio della Porta, born in 1472, is a young artist whose skills are already recognized. Becoming an avid follower of Savonarola, he directs his art in accordance with the theocratic vision of his guru of whom he will also execute a very famous portrait.
It was only in 1500, when Baccio became the Dominican friar Fra Bartolomeo (or Fra Bartolommeo), that he will abandon his activity as an artist for a long period, before brilliantly resuming his brushes at the time of Raphael.
The tondo for sale is a very charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
POST SALE COMMENT
Deserved result for this very attractive painting by Fra Bartolommeo: $ 13M including premium.
Size of the tondo : 65 cm diameter.
The image is shared by Wikimedia.
The likely date proposed by the auction house, the mid-1490s, is the era of the iconoclastic dictatorship of Savonarola, the preacher of repentance.
The relationship between art and Christianity were already an intense concern in Florence at the end of the glorious principate of Lorenzo de' Medici. The dying Lorenzo had doubts about the merits of his work, and chose (but unsuccessfully) Savonarola as his last confessor.
Savonarola, whose memory of his bonfires horrifies the art lovers of today, was chasing the vanities. Botticelli's mythological works have sunk therein. But he did not reject art when it glorified the Christian virtues.
Baccio della Porta, born in 1472, is a young artist whose skills are already recognized. Becoming an avid follower of Savonarola, he directs his art in accordance with the theocratic vision of his guru of whom he will also execute a very famous portrait.
It was only in 1500, when Baccio became the Dominican friar Fra Bartolomeo (or Fra Bartolommeo), that he will abandon his activity as an artist for a long period, before brilliantly resuming his brushes at the time of Raphael.
The tondo for sale is a very charming example of Christian art. The naked child rises to the mother's neck for a kiss. Empathy is intense between mother and child. The tondo format, as circular as a halo, contributes to the perfection of this nicely composed image.
POST SALE COMMENT
Deserved result for this very attractive painting by Fra Bartolommeo: $ 13M including premium.
Size of the tondo : 65 cm diameter.
The image is shared by Wikimedia.
.jpg)
1500 Between Last Supper and Mona Lisa
2017 SOLD for $ 450M including premium
The Salvator Mundi painted by Leonardo was known in workshop's copies but the original was considered lost. The meticulous inspection made by the experts with modern techniques has just brought one of these paintings to the rank of original with undeniable arguments.
The picture shows Christ holding the orb of the world in his left hand and blessing with the raised fingers of his right hand. The mystical message without the divine attribute of the halo competes with the holy shrouds recognized as authentic at his time while adding attitude and gesture. The orb that prophesies the rescue of the world is a reflective crystal ball through which the viewer perceives the palm of the hand.
This painting had belonged to King Charles I of England. It was probably hanging in the private apartments of Queen Henriette who was born in the French royal family. Its previous whereabouts are unknown. A possible hypothesis is a French royal order during the Italian wars. King Louis XII was so impressed by the Last Supper that he wanted to take the wall to France.
The analyzes provided a lot of information on the realization and history of this painting. The perfection of the expression is concentrated in the lips and the gaze, anticipating the Mona Lisa. The mouth was drawn by the technique of pierced drawing used by other great masters of that time including Raphael and Andrea del Sarto. One of the eyes was softened by a spread of color pushed by the wrist of the artist.
Leonardo cared little for the supporting materials. The conservation woes of the Last Supper are famous. The original panel of Salvator Mundi was early split because of a knot in the wood. The accident caused awkward repainting on the face. Anonymous owners then extended these repaints to the point that only peripheral regions including the hands were still visible in their original quality.
All of that has been conscientiously repaired. Fortunately the sfumato remained in very good condition under the disagreeable layers that were removed. This signature Leonardo technique makes it possible to compare the Salvator Mundi with the Mona Lisa which is the culmination of his art. The perfectionist preparation of his paintings could last several years. A date around 1500 is plausible for the Salvator Mundi.
Christ the savior of the world by Leonardo, oil on panel 66 x 46 cm, will be sold by Christie's in New York on November 15, lot 9 B. Please watch the video shared by the auction house.
The picture shows Christ holding the orb of the world in his left hand and blessing with the raised fingers of his right hand. The mystical message without the divine attribute of the halo competes with the holy shrouds recognized as authentic at his time while adding attitude and gesture. The orb that prophesies the rescue of the world is a reflective crystal ball through which the viewer perceives the palm of the hand.
This painting had belonged to King Charles I of England. It was probably hanging in the private apartments of Queen Henriette who was born in the French royal family. Its previous whereabouts are unknown. A possible hypothesis is a French royal order during the Italian wars. King Louis XII was so impressed by the Last Supper that he wanted to take the wall to France.
The analyzes provided a lot of information on the realization and history of this painting. The perfection of the expression is concentrated in the lips and the gaze, anticipating the Mona Lisa. The mouth was drawn by the technique of pierced drawing used by other great masters of that time including Raphael and Andrea del Sarto. One of the eyes was softened by a spread of color pushed by the wrist of the artist.
Leonardo cared little for the supporting materials. The conservation woes of the Last Supper are famous. The original panel of Salvator Mundi was early split because of a knot in the wood. The accident caused awkward repainting on the face. Anonymous owners then extended these repaints to the point that only peripheral regions including the hands were still visible in their original quality.
All of that has been conscientiously repaired. Fortunately the sfumato remained in very good condition under the disagreeable layers that were removed. This signature Leonardo technique makes it possible to compare the Salvator Mundi with the Mona Lisa which is the culmination of his art. The perfectionist preparation of his paintings could last several years. A date around 1500 is plausible for the Salvator Mundi.
Christ the savior of the world by Leonardo, oil on panel 66 x 46 cm, will be sold by Christie's in New York on November 15, lot 9 B. Please watch the video shared by the auction house.
Last Leonardo da Vinci Painting in Private Hands at Auction #salvatormundi @ChristiesInc https://t.co/Ea9TjrgW3O pic.twitter.com/NJBHcu5lu9
— ARTFIX daily (@ARTFIXdaily) October 10, 2017
1518 Portrait of Lorenzo II de' Medici by Raphael
2007 SOLD for £ 18.5M including premium by Christie's
narrated in 2020
Since 1513 the head of the Medici family has become pope under the name of Leo X. Like most popes of this period, he keenly supports his family. After the death of his brother Giuliano in 1516, the hopes of the Medici to preserve the dynasty are transferred to their 24-year-old nephew Lorenzo II. The young prince is named Duke of Urbino, with the constraint of having to take over that duchy from the Della Rovere family.
Lorenzo must therefore be married. The pope promotes a French alliance and the choice falls on Madeleine de la Tour d'Auvergne, a cousin of King François I, in 1517. This marriage was political and the future newlyweds had obviously never met. Portraits will be exchanged during the preparation of this union.
The portrait of Lorenzo was entrusted at the beginning of 1518 to Raphael, a native of Urbino. The matter is urgent. The artist chooses the oil on canvas, which allows a faster execution than the wooden panel. The prince is seen in three quarter length, slightly turned to his right, the gaze directed towards the spectator. He is sumptuously dressed in brocade, velvet and fur. He holds in his hand a gold box supposedly decorated with a miniature portrait of his future wife.
This commission is of great political importance and there is no doubt that this painting is autograph by Raphael. The portrait of Lorenzo reached Paris in March in a convoy of gifts carried by 36 horses. The reciprocal portrait of Madeleine had arrived in Florence in the previous month. The marriage is celebrated on May 2 at the Château d'Amboise.
The original autograph painting, 97 x 78 cm, authenticated by modifications revealed by infrared photography, was sold for £ 18.5M including premium by Christie's on July 5, 2007, lot 91. The image is shared by Wikimedia.
The glory of this prince was overrated. He had not won the war against the Della Rovere. He died in 1519 of syphilis, possibly contracted during his wedding trip. Madeleine had died a few days before him, two weeks after the birth of their only daughter who will become the French queen Catherine de Médicis.
Lorenzo must therefore be married. The pope promotes a French alliance and the choice falls on Madeleine de la Tour d'Auvergne, a cousin of King François I, in 1517. This marriage was political and the future newlyweds had obviously never met. Portraits will be exchanged during the preparation of this union.
The portrait of Lorenzo was entrusted at the beginning of 1518 to Raphael, a native of Urbino. The matter is urgent. The artist chooses the oil on canvas, which allows a faster execution than the wooden panel. The prince is seen in three quarter length, slightly turned to his right, the gaze directed towards the spectator. He is sumptuously dressed in brocade, velvet and fur. He holds in his hand a gold box supposedly decorated with a miniature portrait of his future wife.
This commission is of great political importance and there is no doubt that this painting is autograph by Raphael. The portrait of Lorenzo reached Paris in March in a convoy of gifts carried by 36 horses. The reciprocal portrait of Madeleine had arrived in Florence in the previous month. The marriage is celebrated on May 2 at the Château d'Amboise.
The original autograph painting, 97 x 78 cm, authenticated by modifications revealed by infrared photography, was sold for £ 18.5M including premium by Christie's on July 5, 2007, lot 91. The image is shared by Wikimedia.
The glory of this prince was overrated. He had not won the war against the Della Rovere. He died in 1519 of syphilis, possibly contracted during his wedding trip. Madeleine had died a few days before him, two weeks after the birth of their only daughter who will become the French queen Catherine de Médicis.
1525-1527 The Young Writer in the Palazzo Corsini
2015 SOLD for $ 9.1M including premium
On January 30, 2013, a portrait of a young man from the later Renaissance went unsold at Christie's. It is listed again at Christie's, for sale at New York on January 28, lot 129 with a lower estimate that has been lowered to $ 8M.
Here is my post from 2013 :
Pontormo had a dual role in the history of art.
On one hand, his mythological and biblical works are at the origin of the mannerism with which the expression of the feelings supersede the realism of the attitudes.
On the other hand, he was lucky to be the most appreciated portrait painter to the court of Florence at a brilliant intellectual time when customers requiring for art were expanding beyond the ruling family.
In 1989 at Christie's, J. Paul Getty Museum purchased for $ 35M including premium the portrait of a halberdier, realized between 1528 and 1530 by Pontormo, which is still one of the highest prices recorded at auction for an ancient painting.
The portrait of a young writer has just resurfaced. This oil on panel, 94 x 78 cm, was described in 1842 in the collections of Palazzo Corsini. Its importance was not identified at that time and it was later known through a copy which was sufficient to state that it was not a work by Pontormo.
Its direct scrutiny now attributes it firmly to Agnolo Bronzino when he was a pupil of Pontormo. Vasari had already acknowledged the difficulty of separating the works of both artists and the fast and neat skill of the pupil. This observation is in good agreement with the very thin painting layer of our portrait of a writer.
The experts were able to identify the probable date of the work in comparison with other paintings by Bronzino : between 1525 and 1527.
Here is my post from 2013 :
Pontormo had a dual role in the history of art.
On one hand, his mythological and biblical works are at the origin of the mannerism with which the expression of the feelings supersede the realism of the attitudes.
On the other hand, he was lucky to be the most appreciated portrait painter to the court of Florence at a brilliant intellectual time when customers requiring for art were expanding beyond the ruling family.
In 1989 at Christie's, J. Paul Getty Museum purchased for $ 35M including premium the portrait of a halberdier, realized between 1528 and 1530 by Pontormo, which is still one of the highest prices recorded at auction for an ancient painting.
The portrait of a young writer has just resurfaced. This oil on panel, 94 x 78 cm, was described in 1842 in the collections of Palazzo Corsini. Its importance was not identified at that time and it was later known through a copy which was sufficient to state that it was not a work by Pontormo.
Its direct scrutiny now attributes it firmly to Agnolo Bronzino when he was a pupil of Pontormo. Vasari had already acknowledged the difficulty of separating the works of both artists and the fast and neat skill of the pupil. This observation is in good agreement with the very thin painting layer of our portrait of a writer.
The experts were able to identify the probable date of the work in comparison with other paintings by Bronzino : between 1525 and 1527.
1529 Portrait of a Halberdier by Pontormo
1989 SOLD for $ 35 M including premium by Christie's
narrated in 2020
Jacopo da Pontormo is developing a new pictorial style in Florence, emphasizing psychological expression and storytelling over realism. He is a forerunner of both mannerism and baroque art. A pupil of Andrea del Sarto, he is also a follower of Piero di Cosimo. He is a fresco and portrait painter.
The Portrait of a Halberdier is an oil (or oil and tempera) on panel transferred to canvas 95 x 73 cm. This arrogant young man with a smooth and beardless face who is bulging his chest to the limit does not look like an infantry soldier. He is too richly dressed : he is an aristocrat.
By its military theme, this image enters into the context of the siege of Florence by the imperial armies in 1529. This date is all the more plausible as it corresponds to the period of greatest creativity of Pontormo, who will soon cease to resist his mental disorders.
Under these conditions, the young man is probably Francesco Guardi, aged fifteen. The wearing of the halberd would be a pun associated with the function of guardian evoked by his patronym.
The Portrait of a Halberdier was sold for $ 35M including premium by Christie's on May 31, 1989. It was purchased at this sale by the J. Paul Getty Museum. The image is shared by Wikimedia. Because of its great pictorial quality, experts want to recognize in this portrait a work that was specifically admired by Vasari.
The Portrait of a Halberdier is an oil (or oil and tempera) on panel transferred to canvas 95 x 73 cm. This arrogant young man with a smooth and beardless face who is bulging his chest to the limit does not look like an infantry soldier. He is too richly dressed : he is an aristocrat.
By its military theme, this image enters into the context of the siege of Florence by the imperial armies in 1529. This date is all the more plausible as it corresponds to the period of greatest creativity of Pontormo, who will soon cease to resist his mental disorders.
Under these conditions, the young man is probably Francesco Guardi, aged fifteen. The wearing of the halberd would be a pun associated with the function of guardian evoked by his patronym.
The Portrait of a Halberdier was sold for $ 35M including premium by Christie's on May 31, 1989. It was purchased at this sale by the J. Paul Getty Museum. The image is shared by Wikimedia. Because of its great pictorial quality, experts want to recognize in this portrait a work that was specifically admired by Vasari.
1560 Quiet Mysticism of Titian
2011 SOLD 16.9 M$ including premium
In the later Renaissance, it is difficult to imagine a more complete painter than Titian. His great mythological or religious scenes offer the full range of psychological expression from violence to peace.
At the end of his life, his creativity is much alive, but he has nothing more to prove to increase his fame. Painter of sensuality and characters, he became the painter of the passions.
Circa 1560, he painted A Sacra Conversazione, also known as the Mystical Marriage of St. Catherine. We really catch the intelligence being transferred between the Child Jesus, held by his mother, and Catherine of Alexandria. The Child is active and friendly, Catherine is serious and focused, the Madonna encourages the movement of Jesus. St Luke, standing, is carefully watching.
This large painting on canvas, 128 x 170 cm, is estimated $ 15M, for sale at Sotheby's in New York on January 27. It is illustrated on the press release shared by Artdaily.
There is no doubt about the importance of this work. Already in the 1620s, it had the honor to draw the attention of Van Dyck, who made a sketch of it in a notebook now preserved at the British Museum.
POST SALE COMMENT
As expected, this beautiful Titian dominated the week of ancient art sales in New York. Sold $ 16.9 million including premium, it does not, however, exceed its estimate.
I invite you to play the video shared on the web by Sotheby's. The image is shared by Wikimedia.
At the end of his life, his creativity is much alive, but he has nothing more to prove to increase his fame. Painter of sensuality and characters, he became the painter of the passions.
Circa 1560, he painted A Sacra Conversazione, also known as the Mystical Marriage of St. Catherine. We really catch the intelligence being transferred between the Child Jesus, held by his mother, and Catherine of Alexandria. The Child is active and friendly, Catherine is serious and focused, the Madonna encourages the movement of Jesus. St Luke, standing, is carefully watching.
This large painting on canvas, 128 x 170 cm, is estimated $ 15M, for sale at Sotheby's in New York on January 27. It is illustrated on the press release shared by Artdaily.
There is no doubt about the importance of this work. Already in the 1620s, it had the honor to draw the attention of Van Dyck, who made a sketch of it in a notebook now preserved at the British Museum.
POST SALE COMMENT
As expected, this beautiful Titian dominated the week of ancient art sales in New York. Sold $ 16.9 million including premium, it does not, however, exceed its estimate.
I invite you to play the video shared on the web by Sotheby's. The image is shared by Wikimedia.
1562-1563 An Artist's Studio in the Village
2014 SOLD 8.9 M$ including premium
Born in Vicenza, Francesco da Ponte was trained in Venice where he perhaps met Bellini. He soon opened his artist's studio in the village of Bassano, 65 km away from Venice, where he observed the peasants.
His son Jacopo, known as Jacopo Bassano, succeeded him. Making frequent visits to Venice, he assimilated the mannerist expression of emotions while maintaining a realistic observation of peasants, animals and landscapes.
Christian scenes painted by Jacopo are lively and sensitive representations of life in his village. The Adoration of the Shepherds is a perfect theme for this peasant painter.
A large oil on canvas, 72 x 112 cm, in excellent condition, is estimated $ 8M for sale on January 29 in New York at Christie's. It was painted in 1562 or 1563. On the same date in Venice, Veronese painted the Wedding at Cana. The outstanding place offered by Veronese to Jacopo in his monumental painting demonstrates that the art of the villager was well received in the city of the Doges.
Jacopo is contemporary of another peasant painter whom he probably could not know: Pieter Bruegel. Bassano and Bruegel have another common history: their sons succeeded them, using their images as trademarks for their workshops during several decades.
POST SALE COMMENT
Great result for this rare artwork from an outstanding master : $ 8.9M including premium, in line with the estimate.
His son Jacopo, known as Jacopo Bassano, succeeded him. Making frequent visits to Venice, he assimilated the mannerist expression of emotions while maintaining a realistic observation of peasants, animals and landscapes.
Christian scenes painted by Jacopo are lively and sensitive representations of life in his village. The Adoration of the Shepherds is a perfect theme for this peasant painter.
A large oil on canvas, 72 x 112 cm, in excellent condition, is estimated $ 8M for sale on January 29 in New York at Christie's. It was painted in 1562 or 1563. On the same date in Venice, Veronese painted the Wedding at Cana. The outstanding place offered by Veronese to Jacopo in his monumental painting demonstrates that the art of the villager was well received in the city of the Doges.
Jacopo is contemporary of another peasant painter whom he probably could not know: Pieter Bruegel. Bassano and Bruegel have another common history: their sons succeeded them, using their images as trademarks for their workshops during several decades.
POST SALE COMMENT
Great result for this rare artwork from an outstanding master : $ 8.9M including premium, in line with the estimate.
1621 Mystical Loves in Genova
2016 SOLD for $ 30.5M including premium
Born in Pisa, Orazio Gentileschi begins his career in Rome. He does not follow the anti-mannerism of the Carracci nor the tenebrism of Caravaggio. His art is nevertheless modern for his time with beautiful contrasts and a pleasant naturalism.
In 1621, he is invited by the wealthy Genovese merchant Giovanni Antonio Sauli, son of a former Doge of that city, to work in his palazzo as a painter and as an artistic adviser. Gentileschi executes three monumental paintings on the theme of mystical love, an excuse for displaying sensual nudes.
Sublimating the religions, the artist chooses his stories in the Old Testament, Christian parables and Greek myths. Lot's daughters symbolize the expectation, Danae the annunciation and Magdalene the repentance. Success is immediate and in the practice of his time the artist himself will paint a few copies.
The three original paintings of the Palazzo Sauli have long remained in the descendance of the patron. Danae, oil on canvas 161 x 227 cm, is estimated $ 25M for sale by Sotheby's in New York on January 28, lot 41.
The princess lies on her unmade bed. She is nude excepted a veil of chastity. Cupid opens the curtains to let going the lightning of Jupiter in the form of a shower of golden coins and ribbons. The gesture of the young woman is peaceful and welcoming, with her arm raised in the same oblique direction as the movement of the fertilizing god disguised as gold.
Gentileschi had been too often described as a Caravaggian but his Danae is a masterpiece of late profane mannerism. I invite you to watch the video shared by Sotheby's where the monumental nature of the artwork is highlighted. The image is shared by Wikimedia.
In 1621, he is invited by the wealthy Genovese merchant Giovanni Antonio Sauli, son of a former Doge of that city, to work in his palazzo as a painter and as an artistic adviser. Gentileschi executes three monumental paintings on the theme of mystical love, an excuse for displaying sensual nudes.
Sublimating the religions, the artist chooses his stories in the Old Testament, Christian parables and Greek myths. Lot's daughters symbolize the expectation, Danae the annunciation and Magdalene the repentance. Success is immediate and in the practice of his time the artist himself will paint a few copies.
The three original paintings of the Palazzo Sauli have long remained in the descendance of the patron. Danae, oil on canvas 161 x 227 cm, is estimated $ 25M for sale by Sotheby's in New York on January 28, lot 41.
The princess lies on her unmade bed. She is nude excepted a veil of chastity. Cupid opens the curtains to let going the lightning of Jupiter in the form of a shower of golden coins and ribbons. The gesture of the young woman is peaceful and welcoming, with her arm raised in the same oblique direction as the movement of the fertilizing god disguised as gold.
Gentileschi had been too often described as a Caravaggian but his Danae is a masterpiece of late profane mannerism. I invite you to watch the video shared by Sotheby's where the monumental nature of the artwork is highlighted. The image is shared by Wikimedia.
1627-1629 St John the Evangelist by Domenichino
2009 SOLD 9.2 M£ including premium
Domenico Zampieri, better known as Domenichino, was born in Bologna in 1581. In that city he was naturally a student and collaborator of the Carracci. Like them, he reacts against mannerism with a simple style and sharp colors. His themes show no originality, but his careful work makes him one of the best artists of his time.
Painter of religious subjects, he was especially a fresco artist, and so was accustomed to very large sizes. The St John the Evangelist I am discussing today is 2.5 x 2 meters, a monumental dimension for an ancient canvas.
The saint in a red dress is in an attitude of a preacher or a teacher, confirmed as such by the two inevitable symbolic putti wearing open books.
This painting was regarded in the eighteenth century as a masterpiece of one of the greatest masters, but fashions change and Domenichino ceased to be so flattered. The scarcity of old works of this size on the market justifies the estimate that Christie's now let filtering before issuing their official release: £ 10 million in London on December 8. This amount is probably the high estimate.
It has the advantage of being fresh on the market, as it belonged to the same family for one hundred years.
The probable date of the artwork falls between 1627 and 1629.
The lower estimate is 7 M£.
POST SALE COMMENT
This painting was one of three major lots in the sale of ancient art by Christie's in London. It was sold £ 9.2 million including premium.
The image is shared by Wikimedia.
Painter of religious subjects, he was especially a fresco artist, and so was accustomed to very large sizes. The St John the Evangelist I am discussing today is 2.5 x 2 meters, a monumental dimension for an ancient canvas.
The saint in a red dress is in an attitude of a preacher or a teacher, confirmed as such by the two inevitable symbolic putti wearing open books.
This painting was regarded in the eighteenth century as a masterpiece of one of the greatest masters, but fashions change and Domenichino ceased to be so flattered. The scarcity of old works of this size on the market justifies the estimate that Christie's now let filtering before issuing their official release: £ 10 million in London on December 8. This amount is probably the high estimate.
It has the advantage of being fresh on the market, as it belonged to the same family for one hundred years.
The probable date of the artwork falls between 1627 and 1629.
The lower estimate is 7 M£.
POST SALE COMMENT
This painting was one of three major lots in the sale of ancient art by Christie's in London. It was sold £ 9.2 million including premium.
The image is shared by Wikimedia.
