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Biagio Pupini16th Century Parnassus Biagio Pupini called Biagio delle Lame Muses Oil on Panel
About the Item
This painting (in an excellent state of conservation and of fine executive workmanship, attests to the enormous
luck of Raphael's inventions in the years following his death: in fact it is clearly inspired by the famous fresco of Parnassusdone for Julius II in the Vatican.
The first thing that catches the eye is the not secondary role given to the landscape, which in Sanzio's painting is described in detail, but it is still a background to the scenemain: here, as if passing from a zoomed in to a wide angle, our painter dilates them distances between bystanders and indulges in the description of the fifth of nature, with a remarkable
sensitivity. We see it both in the subtle tonal changes of the bank from which the waterfall descends to give a certain depth to the representation, as in the specious and detailed workmanship with which the crackling fronds are returned, leafy leaves, brush-tip, with the pigment clearer on the tips to also return the reflections of the lumen.
In the
central group changes the pose of the god of the arts and almost all of the bystanders are invented on the second
slowly, the group on the right a presents variations in the garments but, on the whole, rather follows Parnassus faithfully, while the invention of the figures on the left is new to close symmetrically the composition.
The author of the sub judice table declines the prototype in key less grandiose and noble, lighter and more sweetened than the grandeur and majesty that expire by the protagonists of the Vatican fresco, softening the movements also due to the more subtle proportions and a certain simplification of the forms, which we find in the anatomies, in the physiognomics that recur without many variations from character to character - also the harbingers of a precise attributive proposal - in the course of the geometric-shaped cloths. Just these characters of gentle formal balance, display pleasantness, sweet eurythmy of the forms captured with a certain naturalness lead to place our table in the Bolognese area, and specifically in the art of Biagio Pupini.
From Sanzio Biagio Pupini took up the idea of the figure standing in the center and the others arranged symmetrically at the sides, in poses that respond to confer harmony and coherence to the representation. Already in this work we can grasp affinity with Parnassus. in the shoes of the somewhat geometric folds concluded by the sharp contour line, in the anatomy of the Child with the detachments of the muscles somewhat simplified, in the detailed way in which the hair is restored, as in the somatic ones (see the one in profile).
Even more handheld responses in a contemporary Nativity of the Pinacoteca Nazionale di Bologna in the soft folds where the light flows gently from the shape elongated, but above all in the features, here at the limit of congruence with those of the figurines of our table: see the Greek nose with the rounded tip, small mouth, chin a little protruding and elongated almond-shaped eyes, with a pin-pointed iris. It also occurs, again, a remarkable sensitivity in the restitution of nature, especially in the foliage rendered with the brush-tip strokes imbued with matter. Recurring physiognomies and anatomies in a table coeval see the little corniche of Jesus and the profile of Saint Catherine, with her hands somewhat simplified, the feet with well delineated phalanges and a slow pouring rendering of the reflections of the lumen on the hair.
They are characters of style, immersed in an atmosphere of golden classicism, which will leave the placed in the subsequent works to a greater formal abstraction, which is expressed in a more drawing clearer, more rigid and geometric cloths, stereotyped physiognomies, an insistent comparison of the lights that with deeper shadows and a statuary prominence of the figures, as we can see in the Sant 'Orsaia with the companions of the church of San Giacomo which is also one of the last known works by Biagio Pupini. In that year the artist was elected Massaro of the four arts in Bologna: not since 1551
plus his name in the documents, an indication of his disappearance.
From the comparisons proposed here, therefore, this Parnassus is not only to be attributed to Biagio Pupini, called Biagio dalle Lame, but is to be dated in the central phase of his career, which is then the apical point, around 1530 c.a, after the beginning of the collaboration with Girolamo da Carpi.
The paintings and works of art published here are my exclusive property and therefore are always available to be viewed, by appointment, in my exhibition sites located in Sanremo and Brescia.
This item , like all our objects, is sold accompanied by a photographic certificate FIMA of authenticity and lawful origin; this document identifies the object by adding more value to the article.
We take care and personally organize the packaging and shipping of our items with insurance all over the world.
Mr. Riccardo Moneghini
Art Historian
- Creator:Biagio Pupini (1511 - 1551)
- Dimensions:Height: 22.84 in (58 cm)Width: 28.75 in (73 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Sanremo, IT
- Reference Number:1stDibs: LU1510211034342
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