Francesca Antonacci, Damiano Lapiccirella - Collezionando II 2013

 

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Francesca Antonacci, Damiano Lapiccirella - Collezionando II 2013

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f adlc master drawings ii

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acknowledgements we would like to thank gloria gallucci and caterina caputo for writing most of the catalogue entries also thanks are due for their help and advice bernard aikeman federico berti donatella biagi maino guido briganti maria cecilia fabbri michele ferrari ferdinando corberi mary kisler paola ingenito matteo lampertico leonardo lapiccirella francesca lapiccirella brass francesco leone fran oise-anne mailletcontoz claudia nordho carlo orsi susan owens alfredo pallesi susanna ragionieri andrew robison julien stock mercedes viale ferrero e frames of the drawings are supplied by enrico ceci c a tel +39 335 315307 enricoceci@enricoceci.com www.enricoceci.com dimensions are given in millimetres with height before width.

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collezionando ii master drawings presented by damiano lapiccirella francesca antonacci maastricht 15th 24th march 2013 tefaf paris 10th 15th april 2013 salon du dessin via margutta 54 roma borgo ognissanti 56r firenze

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collezionando ii master drawings francesca antonacci damiano lapiccirella fine art info@antonaccilapiccirella neart.com roma via margutta 54 tel +39.06.45433036 info@francescaantonacci.com www.francescaantonacci.com firenze borgo ognissanti 56r tel +39.055.284902 damiano@lapiccirella.eu www.lapiccirella.eu © francesca antonacci damiano lapiccirella fine art all rights reserved no part of this book may be reproduced in any form by any electronic or mechanical means including photocopying recording or information storage and retrieval without the explicit written consent of the copyright owners catalogue entries by federico berti fb donatella biagi maino dbm caterina caputo cc ferdinando corberi fc maria cecilia fabbri mcf mercedes viale ferrero mvf gloria gallucci gg francesco leone claudia nordho cn susanna ragionieri sr julien stock js printed in italy by viol art firenze translation francesca lapiccirella brass stephen tobin.

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collezionando ii master drawings

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marco marchetti da faenza faenza 1527 1588 1 a seated female gure pen and brown ink brown wash 205 x 140 mm provenance is drawing probably belongs to the artist s late roman activity and may be a discarded study for one of the gures that decorate the ceiling of palazzo giustiniani rome where he frescoed some allegorical gures in between grotesques baglione1 in his life of the artists tells us that he was much sought after for this type of decoration marco marchetti marcucci in baglione known as marco da faenza was a painter specialized in grotesque work he was one of the artists who participated in 1553 in the decoration of the rooms of the rst oor of palazzo ricci sacchetti in rome he was known for his wide-spread activity in rome and his skill in grotesque decoration in 1564 he was in faenza where he made his will in 1565 he works in the palazzo vecchio in florence where he decorated some rooms and the principal cortile for the entry of joanna of austria in 1565 he was elected to the florentine academy along with prospero fontana and livio agresti both assisted him in this undertaking in 1570 he was in rimini where he decorated rooms in various palaces at the beginning of the ponti cate of gregory xiii 1572-85 he was in rome decorating the rst cupola in the vatican and then at the death of lorenzo sabbatini 1576 he supervised all the grotesque in the logge and in the stanze e principal in uence on his style seems to have been that of ra aellino da reggio who was working in the logge at the same time in 1580 he is recorded in faenza where he worked in the monastery of the osservanti gg

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matteo rosselli florence 1578 1650 2 pope alexander iv inspired by the virgin approving the rule of the order of the friar servants of mary in 1255 granting it the power to found convents and places of worship wherever it chose trimmed preparatory model in the shape of a lunette oil on paper laid down on canvas 335 x 458 mm inscribed on the back of the frame in handwritten script of the period alessandro iv approva la regola dei servi di maria bozzetto di matteo rosselli d una delle lunette del chiostro della ss annunziata fatto l anno 1616 provenance florence francesco da sommaia 1616-1618 after 1618 florence cavaliere francesco di giovanni campani and his heirs florence private collection it is hugely satisfying when one is lucky enough as in this case to come across a hitherto unknown work by matteo rosselli ­ and a work both of excellent quality and in an excellent state of conservation at that ­ because every new addition to the painter s opus be it a canvas a preparatory model or a graphic work marks a step forward in piecing together a much-needed and more up-to-date reconstruction of his artistic career based on the solid foundation work done by fiammetta faini guazzelli some years ago see 1965-1966 in il seicento orentino biogra e 1986 158-160 in his life of the artist filippo baldinucci paints a comprehensive portrait of matteo rosselli providing a clearly de ned yet richly nuanced picture of the artist s personality focusing not only on his professional career and on the work he produced for two medici grand dukes cosimo ii and ferdinando ii as well as for a series of illustrious florentine patrons but also analysing his work from a moral standpoint both in his capacity as the mentor and teacher of two generations of artists ­ his school was attended by giovanni da san giovanni vignali furini volterrano and many others ­ and in his capacity as a man of moral rectitude unimpeachable both in his ethics and in his conduct anks to these two requisites together with his innate ability to reconcile a pleasing artistic style with the stern dictates of the counter-reformation in the eld of religious painting rosselli managed to build himself a reputation as the ideal interpreter of the tenets of the council of trent earning the favour of the leading ecclesiastical institutions in florence ose institutions included the order of the friar servants of mary or servite order in their convent of the santissima annunziata with which we can link this very ne and hitherto unknown work examined here e work in question is an oil-on-paper preparatory model for one of the four lunettes which matteo rosselli frescoed in the great cloister of the servite convent between 1614 and 1618 completing the painted cycle of twentyfour stories ­ twenty of which had already been painted by then by bernardino poccetti ventura salimbeni and arsenio mascagni ­ for which brother arcangelo giani had developed the iconographical programme giani had devised the programme in 1604 in an attempt to illustrate in a clear and simple style almost as though they were the pages of a book a biblia pauperum or poor man s bible the main events leading up to the foundation

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and subsequent evolution of the servite order between 1233 and 1310 at the hands of the seven holy founders and of st philip benizi see fabbri 1988-1989 fabbri 2009 75-89 e attribution of the work to rosselli suggested by an initial inspection is con rmed beyond all doubt by a stylistic comparison with another bozzetto currently in a private collection in florence ­ the only one so far linked to the fresco cycle in the santissima annunziata g.1 ­ which matteo rosselli signed and dated 1616 is is a model for the lunette of e blessed manetto della antella preaching before st louis king of france paid for by a direct descendant of the founder of the servite order the hospitaller knight francesco di filippo dell antella see fabbri in pitture orentine del seicento 1987 30-31 entry 6 fabbri 2009 79-80 plate 5 e composition pre gured by our model on the other hand coincides in every part with the composition frescoed by matteo rosselli ­ signed and dated 1618 bottom left ­ in the rst of the six lunettes along the south walk of the great cloister which runs parallel to the piazza della santissima annunziata e last of four in order of execution and bearing the campani arms at its base in perpetual commemoration of the patron s family azure matteo rosselli detail bells or a band passant gules charged with three mullets of eight points or this lunette illustrates the event that was to permit the servite order to expand throughout europe namely the authorisation granted by papal decree in 1255 to found places of worship and convents for the order wherever it chose complying literally with the suggestions contained in arcangelo giani s iconographical programme rosselli set the holy founders audience with pope alexander iv in a large hall decorated in ponti cal style and packed with deac[ons card[ina]ls and masters of ceremonies and bishops and prelates in ord[e]r and before the pope the blessed buon gl[iol]o with the blessed manetto and buonagiunta and here praying and beseeching on behalf of s[ai]d friars two consistory lawyers with the datary who holds a sealed bull in his hand so that he can read it to those fathers receiving the pope s bles[si]ng following giani s advice the artist meticulously depicted each individual present varying their stances and their `interrelations according to the role played by each one in the story thus seeking to interpret their various states of mind and the general feeling of elation sparked by the happy event on the one hand benignity with the majesty of the pope on the other humility and reverence and happiness mixed with modesty on the part of those religious on the other again the energy and liveliness of those concistory lawyers as they negotiate and promote th[i]s a air and nal[ly the interest and wonder of that college all around in seeing these new religious and their devotion and humility for the iconographical programme see fabbri 1988-1989 vol ii 463-473 fabbri 2009 73-89 we have two gure studies illustrating the planning stages that led to the production of the model being examined here both of them drawn in red chalk the rst n 9783 f in the u zi is a preparatory drawing for the youthful cardinal visible to the right of the pope see faini guazzelli 1965-1966 vol i 108 the second formerly in the horvitz collection sold soteby s new york 28/1/2008 lotto 41 consists of a ne study ­ so perfectly nished it can almost be superimposed on the painted version ­ of the young page holding a sword and hat in the right foreground his purpose being to provide the scene with a form of theatrical frame see wolk-simon 1991 7679 n 19 at the campani lunette would be considered one of matteo rosselli s masterpieces on the very day after its presentation to the public ­ the best that was to be seen in that place according to pietro da cortona and the object of equal praise from domenico passignano and gian lorenzo bernini see cinelli in bocchi-cinelli 1677 463464 baldinucci vol iv 1846 162 ­ is something that would have been easy to predict simply from the model

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itself which received the unreserved approval both of the patron and of the cleric who devised the servite hagiographical cycle e small oil-onpaper composition already displays that marvellous harmony which it has within itself baldinucci vol iv 1846 162 ­ a source of admiration in the frescoed version ­ and which rosselli achieved through a clear fig.1 matteo rosselli fresco in the santissima annunziata florence scansion of the depth of the painted space on parallel planes marked by a regular alternation of light and shade which prompts the eye to dwell on the gure of the pope who is seated on his throne in the background and who is lit by a ray of light symbolising his inspiration from the virgin we have yet to clarify the seeming discrepancy between the date of 1616 on the back of the model and the actual date of execution which was 1618 both as seen on the campani fresco itself and as reiterated by numerous convent sources and by filippo baldinucci e perfectly logical explanation for the two-year time lapse between the production of the model and its transposition into a full-scale fresco lies in the fact that this lunette which the friars initially granted to francesco da sommaia many years earlier and he in turn commissioned poccetti to do the work was still un nished at the latter s death in 1612 so four years later following the example set by count roberto de bardi and by cavaliere francesco dell antella sommaia must have turned to matteo rosselli who in the meantime had taken over from his late predecessor in painting the servite cycle sommaia must have commissioned the new preparatory model from him but he then postponed its transposition into fresco possibly owing to nancial di culties by 1618 with the deadline well past the servites decided to reassign the lunette to cavaliere francesco di giovanni campani a knight of sienese origin who ordered its immediate execution after purchasing rosselli s model which already had the friars approval from sommaia who still owned it e convent records in the santissima annunziata appear to bear out this version of events see fabbri 2009 77 mcf

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italo flemish school circa 1580 3 diana and acteon pen and brown ink and wash on blue paper heightened with white made up from two pieces of paper 270 x 455 mm numbered on the verso in black chalk k 238 a0146 25 a very popular subject the sheet with its distinctive facial types has de ed attribution suggestions but none convincing have been to hans speckaert joseph heintz and other artists working at the time of rudolph ii when the goddess diana was hot and weary from the hunt she went to a woodland cave to bathe in the clear waters of a pool fed by a spring entering the arched grotto she handed her javelin quiver and bow to one of her nymphs and her cloack to another a third nymph bound her long hair into a knot while others drew water in large jars from the spring and poured it over her at that very moment acteon who had been hunting on a mountain nearby was making his way through the unfamiliar woods with hunting dogs and came to the cave where diana was bathing e nymphs shrieked at his sight of a man and rushed to shelter their naked and blushing mistress surrounded by her nymphs diana turned aside and looked back over her shoulder en bending as though she wished her arrows were at hand she scoped up some water which was at hand and sprinkled it in acteon s face challenging him to tell others if he could how he had seen her without her clothes suddenly antlers started growing where the water touched acteon s brow and he was changed into a stag even his own hunting dogs did not recognize him and thinking he was a wild animal chased him and tore him to pieces1 gg

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cesare dandini florence 1596 1657 4 study of arms hands and male face study for saint antonino pierozzi and the miracle of the basket of fruit sanguine 197 x 140 mm marked lower righ v.d.g unpublished provenance ottaviano dandini florence targioni tozzetti florence art market united kingdom florence private collection cesare dandini sant antonio pierozzi e il miracolo del canestro di literature frutta oil on canvas 116,8 x 147,3 cm private collection s bellesi una vita inedita di vincenzo dandini i in paragone 459-463 1988 pp 97-123 s bellesi cesare dandini torino artema 1996 a cerboni baiardi ogni sera disegnava il suo nudo appunti su quattro disegni inediti di pier dandini e altro in paragone 33-34 2000 pp 127-131 s.bellesi cesare dandini addenda al catalogo dei dipinti firenze polistampa 2007 sotheby s books prints and drawings milan june 26 2007 s bellesi catalogo dei pittori orentini del `600 e `700 3 voll firenze polistampa 2009 is preparatory study ­ related to a well-known painting by cesare dandini ­ represents an important addition to the rather exiguous graphic corpus of the artist as a matter of fact there are not many drawings leading back to this re ned florentine painter giovanni targioni tozzetti about a century after cesare s death a rmed that his drawings were not many and only drawn for few demanding paintings 1 e oeuvre to which this paper is related is the saint antonino pierozzi and the miracle of the basket of fruit 116,8 x 147,3 cm belonging to a private collection this painting represents several standing gures moved by di erent `a etti determination surprise curiosity devoted gratitude e setting of the gures which are arranged in a semicircle is dominated by a rigorous perspective system e emotional center of this canvas is the surprise reaction of the farmer to whom a miracle has disclosed the importance of the words iddio vel meriti god rewards you which were said by the florence archbishop antonino pierozzi 1389 1459 as a reward to the gift of a basket of fruit e study for the character s expression and above all the expressive gesture that follows such surprise ­ probably in uenced by the physiognomic researches expressed by caravaggio in paintings such as the contarelli saint matthew s martyrdom ­ are the main protagonists of the paper is crucial moment of the oeuvre has been studied with red pencil on white paper dandini s favorite technique here there is accurate con rmation of the character s arms as well as the open hands and even details such as the sleeves ­ although it has to be noted that in the drawing under consideration the elbows are not yet as worn out as those of the painting e face of the farmer rst studied by cesare on a young assistant belonging to his workshop in the nal oeuvre is properly altered in order to communicate the character s humble origins e completely unreliable2 v.d.g initials traced on the paper are mistakenly referring to the almost unknown gure of vincenzo dandini il giovane 1686 1734 trained by the father pietro he became a member of the jesuit order and moved to rome in 17203 is attribution was made by the already mentioned giovanni targioni tozzetti an erudite and naturalist who married maria brigida dandini4 and inherited about ve thousand drawings from the dandini family in the mid 18th century e sheets were organized in twenty volumes and appointed to the various artists of the dandini family by means of their respective initials5 ese attributions produced by an `amateur sometimes about a century after the realization of the graphic studies have already been object of past revisions6 which have demonstrated that they are not always reliable ­ this case included fb

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