Follower of Antonio Campi, Face of Christ

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About the Item

Follower of Antonio Campi (Cremona ? - Milan, 1587) Bust of Christ at prayer Oil on canvas, 47 x 37.5 cm The compositional language and the use of rich and precious coloring, from the bright red of the robe to the brilliant blue of the mantle and the highlights of the locks of hair, but also the dramatic use of light, the true protagonist of the scene, link the present painting to a painter of the Cremonese school well acquainted with the works of the Campi brothers, great innovators of Lombard sacred art in the second half of the 16th century. In particular, great connections are intertwined with the figure of Antonio Campi if one considers the painting of the same subject exhibited at the 19th Biennale dell'Antiquariato (2015) in Florence. Moreover, the same attitude is found in the Prado Museum's Saint Jerome, in which the saint with his hand flexed over his heart in a superplastic gesture turns his gaze toward the crucifix and the divine apparition, in our painting exemplified by the light coming from the right. The episode of Christ praying intensely to God is a theme very dear to the Campi brothers, who repropose the episode of prayer in the Garden of Gethsemane several times, as in the exemplar of Santa Maria della Noce di Inverigo by Antonio or the Diocesan Museum of Pelplinie in Poland, by Vincenzo and Antonio, in which our attention is drawn to the face, in deep meditation and concentration but also anguished agony at the approach of death. In the present painting all superfluous elements are eliminated to focus on Christ's face, the eyes to the sky rapt in the light source and the hand to his chest the barely ajar mouth succeed in expressing a powerful sense of meditation and prayer, here Christ in fact does not seem to be physically suffering the pains of agony, but is intensely meditating on the destiny that awaits him in a key of redemption and redemption, even though he knows that he is going to meet death. The Campi brothers, Giulio, Antonio and Vincenzo Campi were among the most famous painters active in 16th-century Lombardy. Painters in high demand by both religious and secular commissions, the three started a full-fledged family workshop in Cremona, their hometown, but whose activities reached as far as Milan and Spain. Cremona was characterized throughout the course of the sixteenth century by a fervent and prolific artistic environment. The border location allowed the local culture to open up to Venetian, Emilian, Milanese and Mantuan influences. This characteristic was reflected in the numerous artistic commissions, fostering the proliferation of the work of "outsider" artists of the caliber of Romanino and Pordenone. Equally fundamental to the development of Cremonese artistic culture were relations with northern Europe (especially with the Flemish milieu in the first decades of the sixteenth century). In this lively cultural environment, the Campi family workshop developed. The progenitor was Galeazzo, father of the three brothers and also active as a painter in Cremona. He had little influence on the style of his sons, so much so that the real initiator of the Campesque school can be identified in the figure of his eldest son, Julius. He also played the crucial role of guiding the start-up of the business of his two younger brothers Antonio and Vincenzo. The family's artistic production was in demand by numerous patrons because of their ability to embrace the innovations of those years while maintaining their own distinctive characters. The Campi brothers' workshop also distinguished itself in the city environment by training several pupils (one of the best known was Lattanzio Gambara). The artistic production of the three brothers is characterized by a certain stylistic commonality, under the guidance of the eldest of the three, Julius. At the same time, it should undoubtedly be acknowledged that Antonio, and even more so Vincenzo, has taken his own and personal path. While for some works even today there remains doubt as to who is the author among the three, there is a gradual shift, from the major to the minor, from a more mannered art to a greater pursuit of naturalism. Among the key works are the frescoes created by Giulio and Antonio church of San Sigismondo in Cremona made beginning in 1554-frescoes that reflect Giulio Romano's influence on Giulio's art. These were the years in which Antonio Campi's art came very close to that of his older brother, and the collaborations between the two were very close, as evidenced by the frescoed rooms in Palazzo Barbò in Torre Pallavicina (BG) and Palazzo Maggi in Cadignano.Around the 1560s, the three brothers appeared on the Milanese art scene; here they participated, in 1564, to the competition to make the organ doors for the cathedral, their candidacy was supported by Archbishop Carlo Borromeo, a great admirer of their painting. It was from the 1570s that Antonio broke away from the fraternal figure to embrace a more personal style much appreciated by Milanese patrons among the most famous works such as is the famous Crucifixion with episodes from the Passion of Christ of 1569 ( of which he made a replica for Charles Borromeo) and the Beheading of the Baptist of 1571 and the Martyrdom of St. Lawrence of 1581, both made for the church of St. Paul Converso. More attention to naturalistic rendering emerges in these paintings, certainly as a result of studies of models from life, including luministic effects. The item is in good condition

Creator:
Follower of Antonio Campi (Cremona, 1524-1587) (1524 - 1587)
Dimensions:
Height: 18.51 in (47 cm)Width: 14.97 in (38 cm)
More Editions & Sizes:
47x38 cm Price: $3,588
Medium:
Canvas,Oil
Period:
16th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639215521232

Adele Pinot
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Located in Milan, IT

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