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Follower of Antonio Allegri known as Correggio, 17th century, Ecce homoXVII Century
XVII Century
$6,589.79
£4,904.76
€5,500
CA$9,026.36
A$10,039.29
CHF 5,242.20
MX$122,167.45
NOK 66,950.95
SEK 62,788.18
DKK 41,869.58
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Follower of Antonio Allegri known as Correggio, 17th century
Ecce homo
Oil on canvas, 70 x 54 cm
Framed, 90.5 x 57 cm
The work under consideration is based on the model of Ecce homo painted by Antonio Allegri known as Correggio (1489-1534) in about 1526 and currently housed in the National Gallery in London. The history of derivations from Correggio's works, made through different techniques, declines in the following centuries reaching as far as the nineteenth century, and already starting from a few decades after his death in 1534 . on the one hand, engravers were offering now more now less faithful reproductions of his most appreciated works, such as the one executed by Agostino Carracci precisely for the London Ecce homo, on the other, some painters made copies on panel or canvas. Delving deeper into the issue related to Agostino Carracci's engraving, it should be considered the earliest documented evidence of the work: in fact, the engraving bears the date 1587, and the accompanying inscription states that the work was in the collection of the noble Prati family of Parma. Carracci made the engraving while viewing Ecce homo during his trip to Parma in 1586-1587, thus also visiting the residence of the Prati family, from which, moreover, one of the most famous copies of Correggio's original came, namely the canvas, preserved today in Parma at the National Gallery, which was originally attributed once again to the hand of Agostino, although at least until 1675, there was evidently no reason for the Prati family to procure copies of a painting they owned in original, which subsequently passed to the Colonna family in Rome and, by further passages, finally reached London. In addition to this version, other derivations are found in museums and collections: one kept at the Estesi Galleries in Modena attributed to Francesco Stringa, another at the Pinacoteca Crociani in Montepulciano, and several others in collections and on the market. In our case, only the figure of Christ is taken, thus excluding the architectural backdrop and the other characters, shot with a more steady and less suffering gaze than in the original, from which the pose, crown, and mantle are instead faithfully taken, at least as far as the forms are concerned. Differences at the stylistic level are found in the expression, which is more relaxed and firm, the dark setting that enhances the chiaroscuro effects, and the denser and more full-bodied texture of the brushstroke, in line with the developments that took place in the seventeenth century.
- Creation Year:XVII Century
- Dimensions:Height: 27.56 in (70 cm)Width: 21.26 in (54 cm)
- More Editions & Sizes:cm 70 x 54Price: $6,590
- Medium:
- After:Antonio da Correggio (1498 - 1534, Italian)
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216689482
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