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Attilio Manganaro
Jules Naudin (1817-c.1876) - Tasso arriving at his sister's house in Sorrento
1851

Name: Jules Naudin (1817-c.1876) - Tasso arriving at his sister's house in Sorrento
Brand: Attilio Manganaro
Price: 8080.85 USD
Availability: InStock

About the Item

Jules Ambroise Francois NAUDIN (Paris 1817 – c.1876) Tasso arriving at his sister's house in Sorrento Oil on canvas H. 49 cm; L. 37.5 cm Signed lower right Exhibition: 1852, Paris Salon, under number 959 Related work: Engraving by Jean-Denis Nargeot in 1852 Bibliography: L’Illustration, April 24, 1852, engraved by Best, Hottelin and Regnier, after a drawing by Valentin) and reproduced p.260, cited p.262; La Mode: Political, Religious and Literary Review, 1852, quoted; Journal des Demoiselles, 1852, engraved by Nargeot and reproduced; Almanac of literature, theater and fine arts, 1853, p.35, quoted. A pupil of Léon Cogniet, Jules Naudin made his debut at the Paris Salon in 1838 and exhibited there until 1876, the supposed year of his death, mainly portraits and religious or historical subjects. In 1838 and 1841, he competed for the Grand Prix de Rome in painting at the School of Fine Arts and won a Second Grand Prix in 1841. His wife Henriette Demours gives him a son born in 1853, Charles Edouard, who will move towards sculpture and architecture after training at the Beaux-Arts in Paris. Charles-Edouard bequeathed to the Louvre Museum a series of drawings by his father representing Italians in regional costumes, located on each sheet. This donation testifies to Naudin's travels in Italy and therefore to the stylistic reality of his compositions, of which our canvas is an example. In 1852, a copy of the painting by David representing Bonaparte crossing the Grand-Saint-Bernard was commissioned from him for the Hospice de Mont Genèvre. A few years later, Christ who covers the poor and orphans with his mantle will be acquired by the State and placed in the Saint Front church in Ribérac (Dordogne), as will The Virgin with the Child Jesus who picks a branch of cypress, which will join the church of Luzarches (Val d'Oise) following the Salon of 1865. Two years later, the State buys him an Ecce Homo, then placed in the chapel of the high school of Clermont-Ferrand. Our painting must have had some success at the Salon of 1852 since it was engraved twice and published in L'Illustration and the Journal des Demoiselles. L’Illustration describes it as follows: “This little picture is fairly well composed, and can provide the subject of a pleasant engraving; but there is reason to reproach painting for the equality of the smooth touch and the uniformity of the tint, whatever the variety of the objects, flesh, fabrics or terrain. The critical article on the 1852 Salon of L’Almanach de la Littérature, du Théâtre et des Beaux-Arts distinguishes our work, in the category of genre paintings, as one of those “having received the votes of the connoisseur public”. Similarly, our painting stood out in the article on the Salon published in the July 5, 1852 issue of La Mode: political, religious and literary review: "We have cleared this inextricable mess of mediocrity from a painting by M. Jules Naudin, who has qualities…”, being part of “… those which seemed to us the most deserving of being pointed out to public scrutiny”. Our work represents the moment when, in 1577, the famous Italian poet Torquato Tasso known as Le Tasse (born in Sorrento in 1544), while he was imprisoned in Ferrara by the Este family following an incident, escaped and comes to join his sister Cornélia living in Sorrento in November. Welcomed with kindness, he stayed with her for some time, but decided to go to Rome at the end of January 1578. The incredible life of Tasso will be illustrated by many artists in the 19th century, between 1810 and 1870, in history painting in France, at a time when his work is experiencing a resurgence of interest: Menjaud, Franquelin, Fleury Richard, Dejuinne, Larivière, Clérian, Achille Deveria, Granet, Louis Gallait, Eugène Delacroix… As for our subject in particular, it is treated for the first time by Louis Ducis in 1812 (the painting will be bought by the Empress Joséphine), within a cycle devoted to Tasso, then by Alfred de Curzon in 1859 (quoted above top) or even by Nicaise de Kayser (Cornilliet drew an engraving from it exhibited at the Salon of 1863). The booklet of the Salon of 1812 captioned Ducis' painting thus: “On returning home, he announced himself as a messenger who brought her news of his brother. His sister did not recognize him; she opened the letter in which the unfortunate Torquato represented himself in the most cruel position. The tender Cornélia, on reading this frightful news, testified to such deep pain that Tasso could not bear his disguise and hastened to console her by throwing himself into her arms. In 1859, Curzon's painting is described as follows: "Misled by his sickly imagination, he had fled from Ferrara. He arrives at his sister's, disguised as a shepherd and presents her with a letter in which he says he is in the greatest danger. From pain, Cornélie will faint. Tasso throws off his coat, makes himself known and holds her in his arms.

Creator:

Attilio Manganaro (1865 - 1890, Italian)

Creation Year:

1851

Dimensions:

Height: 19.3 in (49 cm)Width: 14.77 in (37.5 cm)

Medium:

Canvas,Oil

Movement & Style:

French School

Period:

1850-1859