18th century Italian Old Master - San Pellegrino Laziosi - Religious Faith

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Filippo Pedrini
18th century Italian Old Master - San Pellegrino Laziosi - Religious Faith

About the Item

18th century Italian old Master painting FILIPPO PEDRINI (Bologna 1763 – 1856) Cristo appare a san Pellegrino Laziosi Oil on canvas, 70 by 48 cm and 90 by 68 cm with frame Provenance: Private collection, USA This captivating oil painting depicts the very moment in which Pellegrino Laziosi was healed by a vision of Christ in his dream. It is a depiction of a tale filled with hope and positivity. Pellegrino Laziosi was born in 1260, the only son of an affluent family in Forlì, in northern Italy. At that time Forli was part of the Papal States. His family supported the anti-papal faction. In 1283 the residents of Forlì were under interdict. Philip Benizi, Prior General of the Friar Servants of Saint Mary, was sent to try to reconcile the divided community. While trying to preach in Forlì, Philip was heckled and struck by the 18-year-old Laziosi. He was driven from the city with insults and violence. Laziosi repented and asked Philip for forgiveness. Benizi received him with kindness. The moment had a profound effect on Laziosi. Filled with remorse, he began to pray more and to channel his energies into good works. A few years later, he joined the Servites in Siena and went on to be ordained a priest. After some years he was sent back to Forlì, where he founded a new Servite house there and became well known for his preaching and holiness as well as his devotion to the sick and poor. It is said that he miraculously multiplied grain and wine during a severe shortage in his area. People took to calling him the "Angel of Good Counsel", so grateful were they for his wise advice so freely given. One of the special penances he imposed on himself was to stand whenever it was not necessary to sit. When tired he would support himself on a choir stall. At the age of 60, he developed an infection in his right leg. His condition deteriorated to the point that the physician decided to amputate his leg. The night before the operation Laziosi spent time praying before a fresco of the Crucifixion in the chapter room. He fell into a deep trance-like sleep and seemed to see Jesus descend from the cross to touch his leg. The following day, the doctor arrived to perform the amputation and finding no sign of the cancer, news spread of the miraculous cure throughout the town. This only increased the people's regard for Laziosi. He died of a fever on 1 May 1345, at the age of 85. An extraordinary number of people from the town and countryside honored his death. Some of the sick who came were healed which was attributed to his intercession. Pellegrino Laziosi became a patron saint for people suffering from cancer, AIDS, and other life-threatening illnesses The painting has been studied by Professor Biagi and the painting is accompanied by a written expertise. Professor Biagi writes; “This work, with a robust structure and exquisite pictorial rendering, qualifies as a certain proof of the talent and cultivated skill of a young Bolognese artist, Filippo Pedrini, an excellent representative of the latest generation of painters of the Clementine Academy of Painting, Sculpture and Architecture. of the Institute of Sciences of Bologna (1). Initiated to painting by his father Domenico, a vaglia painter, he shared the training course with his friends Mauro Gandolfi, also a son of art - of the famous and celebrated painter Gaetano -, and Pietro Fancelli, also an established artist since the eighties from the eighteenth century and guaranteed in the Academy by his parent Petronius; like them, but with different verve, he juggled between respect for tradition and the right outbursts of rebellion against the teachings that appeared not in line with the evolution of international artistic culture, which can be compared in the Academy in the debates between masters and shrewd collectors, in the teachings of best (Gandolfi sr in primis), through the exchange of knowledge with the many artists and connoisseurs visiting Bologna. He was initiated into painting by his father, whose manner combined the study of the models of the great local seventeenth century and the fascination for Venetian art, which he met during stays abroad (2), who at a mature age proposed himself as the continuer of the solid and grandiose style by Ubaldo Gandolfi, one of the protagonists of Italian painting since the sixties of the century; the son chose to rather approach the very modern painting of Gaetano Gandolfi, brother of the artist just mentioned, who from the seventies of the century was able to embody the newest and most modern of contemporary painting, in whose evolution he participated. The first tests of the young Filippo, enrolled by his good father at the Clementina not yet fifteen, are the drawings awarded at the academic competitions in the years between 1782 and 1787, kept at the Academy of Fine Arts in Bologna, the last of which is really nice testimony of frankness in studying from life; on the other hand, Pedrini jr had already given excellent proof of himself by painting two fake monochrome statues on the wall in the church of San Bartolomeo (3), in a beautiful and casual manner, evidently indebted to the ways of the artist he elected master, Gaetano Gandolfi. This will be the case in numerous other tests, in which ours adopts the ascending scan by oblique lines as in the sketch for an altarpiece not yet recognized with the Madonna and Child, St. John the Baptist and other saints, originally attributed to Gandolfi (4) as the delightful Madonna with Bambino and San Giovannino formerly from the Ceschi (5) collection, a painting prepared for private devotion which attests to the young artist's ability - the work was dated to the early 1980s - to orient himself among the different addresses offered by the school and the more intimate suggestions feel from his warm and passionate temperament of the master's painting. Nearly the Maddalena already from the Cera collection, also exhibited at the great Bolognese exhibition of 1979 which also made known the sketch with Apollo and the preparatory Hours for the fresco painted in Palazzo Hercolani in Bologna, one of the most important late commissions century, one of the many wall paintings that were requested from the excellent Pedrini, who was active both for the clergy, the Bolognese nobility and therefore the pro-French government (6). The artist is in fact known above all for his activity in this field, but his profane and sacred production cannot be underestimated. Paintings of exquisite handwriting such as the two mythological scenes (Venus and Vulcan, Triumph of Minerva, also believed to be by Gandolfi and returned to Filippo by the writer7) of ineffable grace, sophisticated and brilliant in the choice of bringing out the sensuous forms of the characters from the shady background, with an outcome of fragrant beauty: a modus operandi that we also find in the painting in question, which sees the scene of the apparition of the Crucifix to the saint set according to a trend again by opposing diagonals, and clearly distinguishes the ground from the supernal through the wise and blurred contrast between the luminous space of the shining sky and the dark tone of the shaded area on which the patient lies. And what a splendid apparition, that of the angel who supports the saint with the seriously ill leg: cloaked in light, he is the most Gandolfian one can, in the rendering of the gentle face, of the beautiful wing, the robe lit in a yellow Tiepolo, stylistic features which refer to Pedrini's admiration for the art of the master, to whom he stands out, for just autonomy, in the description of the putti, whose profiles, the softness of the flesh are similar to the many little angels and cupids of his best works. Finally, the freshness of the drafting is dazzling, with light touches, at the tip of the brush, light and fragrant and rich in matter as in his most polite works, the mythological scenes mentioned above, the sketches for the frescoes carried out by the eighteenth century - this canvas is from tracing back by chronology to the ninth decade of the century - before the choice to approach the fashion of the moment, the neoclassical painting favored by many, restrained his spirit, the feeling of beauty and grace that characterizes eighteenth-century paintings. In the nineteenth century of Giani and Palagi our Filippo Pedrini will become a supporting actor, and his poetic vein will wither, leading him to perform tired and poorly inspired works. But this is another story. ” 1 See D. Biagi Maino, ad vocem, in Painting in Emilia Romagna in the second half of the eighteenth century, in Painting in Italy. Il Settecento, Milan, 1990, vol. 2, p. 825, and Eadem, in The soul of painting. Emilian paintings from the sixteenth to the nineteenth century, catalog of the sales exhibition (Fondantico 23/10 - 23/12 2010), Bologna 2010, pp. 113.118. The Clementine Academy of the Institute of Sciences was, with its sister Academy of Sciences, one of the most prominent institutions in eighteenth-century Italy. 2 See D. Biagi Maino, ad vocem, in Painting in Emilia Romagna ... cit., Pp. 823-824. He had gone to seek his fortune in Verona and Trento, and was able to approach the art of Fontebasso, Tiepolo, the best Venetian painters of the time. 3 In D. Biagi Maino, ad vocem, La pittura in Emilia Romagna... cit. I monocromi sono nella cappella Sagaci della chiesa citata. 4 Di ubicazione ignota. Olio su tela, cm. 35 x 38, già galleria Corsini, Roma. 5 Cr. N. Clerici Bagozzi, schede siglate in L’arte del Settecento Emiliano. La pittura. L’Accademia Clementina, catalogo della mostra, Bologna 1979, pp. 145-146. 6 Sulle pitture murali si vedano G. Vecchi, ad vocem, in A. M. Matteucci, I decoratori di formazione bolognese tra Settecento e Ottocento. Da Mauro Tesi ad Antonio Basoli, Milano 2002, p. 500 e le schede dei palazzi ivi citati. 7 Apparse con attribuzione a Gaetano Gandolfi all’asta del 21-22 novembre 1985 della Casa di vendita L’Arcadia, sono state discusse da chi scrive in La pittura in Emilia Romagna... cit., Milano, 1990, vol. 1, fig. 268 (riprodotte anche in L’anima della pittura... cit., pp. 114-115).

Creator:
Filippo Pedrini (1763 - 1856)
Dimensions:
Height: 27.56 in (70 cm)Width: 18.12 in (46 cm)
Medium:
Canvas,Oil
Movement & Style:
Old Masters
Period:
18th Century
Condition:
In excellent state on conservation and ready to hang. Custom-made contemporary frame.
Gallery Location:
Aartselaar, BE
Reference Number:
1stDibs: LU1423210799342

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