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Painting from the workshop of Francesco Bassano Nativity second half of the 500's
1500s

$14,670.22

$18,337.7820% Off

£10,902.37

£13,627.9620% Off

€12,480

€15,60020% Off

CA$20,145.88

CA$25,182.3520% Off

A$22,677.73

A$28,347.1620% Off

CHF 11,997.37

CHF 14,996.7120% Off

MX$281,289.34

MX$351,611.6720% Off

NOK 148,240.29

NOK 185,300.3720% Off

SEK 141,778.74

SEK 177,223.4220% Off

DKK 94,969.14

DKK 118,711.4320% Off

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About the Item

Oil on Canvas. Second half of the 16th century. The painting comes from the historical family collection of Count Castracane, as is documented by the original handwritten paper receipt of Francesco Bassano (attached to the 'work) The back of the frame also has an inventory cartouche at the top and the inscription "Castracane property" at the bottom. The aforementioned Count Castracane belongs to the noble Castracani degli Altelminelli family of Fano, originally from Lucca. Francesco Dal Ponte da Bassano, known as Il Giovane, worked for many years in the important workshop of his father Jacopo, known as Bassano il Vecchio, and then moved to Venice in 1578 where he set up his own atelier, though he continued to collaborate with Bassano's workshop, which had meanwhile been run by his brother Leandro after his father's death; towards the end of the 1580s, however, a crisis manifested itself in Francesco that was also reflected in his allegorical production: in a gradual rapprochement to the taste of his brother Leandro, the color lightened losing its strength, the forms expanded and simplified, and the composition became fragmentary. The production of the Bassanesque family was most notable for sacred subjects, set, however, in rural settings, leading to call them biblical-pastoral. In this painting, too, the Holy Family does not characterize the centrality of the scene, but is one of the two groups of very human figures occupying the right side of the scene, while on the left stands the group of shepherds with the animals of the countryside and the simple objects of daily life. The rural context is also well defined by the surrounding objects, although the birth hut is replaced by an architectural structure with marble columns, but of a color that blends in with the other surrounding structures. The only spiritual elements are the angel-lonely!-appearing to the shepherds for the announcement, relegated high up, small and barely noticeable; and the 'halo surrounding the head of the Baby Jesus, moreover depicted placidly asleep, unaware of what is going on around him and what awaits him. Characteristic in the production of his father's Bassano workshop were the richness and vividness of color and luminous contrasts, which, however, became muted in Francesco, translating into more muted color choices and simplified forms, losing some of their strength. This is also evident in this 'work, placed in the last years of the artist' s life, especially in the clothing of the characters; note in particular how Mary's robe is no longer red as per tradition, a color strongly symbolic of sorrow human, but it is the same rosy hue as the central pastor's tunic, as if to emphasize Our Lady's belonging to humble and simple humanity. Moreover, Francesco Bassano in his last period, due to his state of health compromised by severe hypochondria (he died by suicide in 1592), had commissions for works that were only partly executed by him, but delegated, at least partially, to his assistants. This depicts a 'work commissioned from him and from his workshop, as his autograph statement declares, but probably not made directly by the master, but rather by one of his collaborators. The painting appears to have been restored and re-tinted. It is presented in a late 18th- to early 19th-century antique wooden frame.

Creation Year:
1500s
Dimensions:
Height: 35.83 in (91 cm)Width: 43.31 in (110 cm)Depth: 0.79 in (2 cm)
Medium:
Oil
Circle Of:
Francesco Bassano (1549 - 1592, Italian)
Period:
16th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU680316208032

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Gallant party in the park. French School. Mid-18th century

Located in Milan, IT

The scene depicts a feast within a park enclosed by walls with arched gateways opening onto the countryside, and adorned on the right with an amphora on a small column and in the center, behind the figures, with a gushing fountain, with statues of cherubs and shells. Two couples of richly dressed ladies and gentlemen entertain themselves gallantly, surrounded by servants; one of the men is playing the violin, crouching in front of his lady, who, flanked by the damsel, follows the melody on the score held up by the dark-haired man at her side, while two musicians accompany the playing with flute and a mandolin; the other couple, in an attitude of intimate dialogue, listens on the left, while on the right the hunter returning from the hunt also observes the scene. Particularly prominent in the scene is the rich dress of the lady in the center, characterized by the wide back folds falling from her shoulders to create a cape. Such a dress corresponds to what was called "robe à la Watteau," named after the French painter Antoine Watteau who first portrayed ladies wearing this pattern. Antoine Watteau (1684 -1721), a French painter considered one of the most influential French exponents of Rococo painting, was the forerunner of the pictorial genre of gallant scenes, a genre that developed in France from the late 1600s and continued throughout the following century. The gallant scenes could be considered as the aristocratic version of the genre scene: characterized by music, dances, pleasant conversations between ladies and gentlemen surrounded by servants, they tended to enhance the costumes, fashionable clothes, and environments of the upper class, conveying a kind of detachment from the real times and places, projecting the viewer into an almost theatrical atmosphere of gestures, looks, colors and stage lights. Moreover, Watteau, along with the Fêtes galantes cycles, also distinguished himself for those inspired by the theater, absorbing his passion for the scenes and characters of that milieu from Claude Gillot...

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