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Giovanni Balducci detto il CosciMadonna and Child with Saints Oil on canvas Giovanni Balducci known as Cosci16th – 17th century
16th – 17th century
About the Item
Giovanni Balducci known as Cosci (Florence, 1560-Naples, 1631)
Madonna and Child, St. John, St. Joseph and St. Elizabeth
Oil on canvas, 120 x 110 cm
The Madonna and Child, well-lit in the center of the composition, are accompanied by Saints John Joseph and Elizabeth, whose subordinate role of the latter is underscored by their placement in the background shrouded in semi-darkness. The virgin, the baby Jesus and St. John are distributed along a diagonal line that descends from the face of the Virgin to that of the little saint.
The setting of the characters, so compressed in space, is a reference to the modes of Tuscan Mannerism, and is close to that of the panel painting Holy Family with St. Anne and St. John the Baptist by Giovanni Balducci known as Cosci, which passed at Sotheby's Auction in London in 1966, of which there is another version on canvas that also appeared at Sotheby's Auction in London in 1968. It is through comparison with these paintings that the canvas under consideration can also be attributed to Cosci.
Giovanni Balducci was born in Florence around 1560 and owes his nickname "il Cosci," after his maternal uncle Raffaello Cosci, with whom he was raised. A pupil of Giovanni Battista Naldini (1535-1591), he maintained the traditional line that distinguished Vasari's epigones and, in general, the late Florentine Mannerists, with distant reflections of the art of Pontormo, Bronzino, and Andrea del Sarto. Andrea del Sarto's own Madonna and Child, St. John, St. Elizabeth, and Two Angels in the Louvre Museum in Paris reveals Cosci's focus on "the painter without error." Indeed, note the reprise in the work under review of the model of St. Elizabeth holding St. John and the vividness with which the baby Jesus is made. Cosci does not fail to look to Raphael, as denoted in our canvas by St. John handing the infant Jesus a goldfinch, which living among thistle plants is an allusion to the crown of thorns and thus to the Passion of Christ.
Giovanni Balducci was a very active painter in Florence, where in 1578 he appeared matriculated in the Accademia del Disegno. In 1575-79 he collaborated with Federico Zuccari on the frescoes of the dome of S. Maria del Fiore and later helped Allori in the grotesque decoration of the ceilings of the first corridor of the Uffizi Gallery. Even in his youth he worked for Cardinal Alessandro de Medici, archbishop of Florence (later Leo XI), whose esteem and protection he enjoyed. He was present, again in close dependence on Naldini, among the painters of Francesco I's Studiolo in the Palazzo Vecchio; in 1589 he participated in the ornamentation of Florence cathedral on the occasion of the coming of Christina of Lorraine, wife of Ferdinand I, and executed several works, of which the large canvas with the Last Supper on the high altar remains. Signed and dated 1589 is the Marriage of s. Catherine near San Gimignano, church of St. Augustine. From 1590 is the cycle of frescoes in the church of S. Iacopo della Congrega maggiore on Via S. Gallo (Oratorio dei Pretoni), considered by scholars to be his best works.
About 1592 the artist, at the invitation of Cardinal de' Medici, went to Rome. During the pontificate of Clement VIII Aldobrandini, his work in the capital was of considerable importance: in S. Giovanni Decollato there remain frescoes on the sides of the entrance arch to the main chapel and a Resurrection of Lazarus already on an altar in the cloister; in S. Giovanni dei Fiorentini, chapel of S. Maria Maddalena dei Pazzi, he frescoed Carlo Martello doing penance, a model of which exists at Hampton Court; in the baptistery of S. Giovanni in Laterano he painted a Herodias now lost; and in S. Prassede he left frescoes in the nave, with Oration in the Garden, Ascent to Calvary, symbols of the Passion, figures of apostles, angels and cherubs. From Rome, around the year 1600, Cosci moved to Naples, in the service of Cardinal Alfonso Gesualdo: here the painter had already been in 1598 to execute paintings in the palace of the Duke of Maddaloni. Also in Naples, where his presence is ascertained until 1612 he worked diligently, leaving works in the cloister of the Carmine Maggiore with Stories of Elijah and Elisha; in S. Giovanni Battista delle Monache he made a Holy Family; S. Giovanni dei Fiorentini, a church unfortunately destroyed, saw Balducci grappling with ceiling decoration; in S. Maria della Sanità he frescoed the refectory; sources describe other works in the cathedral. Cosci's later activity is to be found in Calabria, where his presence is attested by the two canvases with the Immaculate Conception and a Madonna del Carmine, signed and dated 1614, in S. Maria Maggiore in Taverna. Died in Naples at an unspecified time (after 1631), B. was buried in the church of S. Maria della Sanità.
- Creator:Giovanni Balducci detto il Cosci (1560 - 1631, Italian)
- Creation Year:16th – 17th century
- Dimensions:Height: 47.25 in (120 cm)Width: 43.31 in (110 cm)
- More Editions & Sizes:cm 120 x 110 without framePrice: $17,151
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639213027952
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