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Attributed to Francesco Montelatici called Cecco Bravo, dressing of the knight

$14,056.67

£10,293.78

€11,700

CA$19,134.64

A$21,447.47

CHF 11,167.07

MX$261,882.78

NOK 141,781.19

SEK 134,395.82

DKK 89,040.57

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About the Item

Francesco Montelatici called Cecco Bravo (Florence, November 15, 1601 - Innsbruck, December 1661), attr. Dressing of a knight before battle Oil on slate, 48 x 47 cm Framed, 60 x 58 cm Signed lower right FM The enigmatic episode depicted, which features two knights preparing for the battle impending behind them, is open to multiple interpretations. In the foreground, a group of three horsemen are waiting to spring into action: the first one stows his sword in the hilt, to the side, the other raises to the sky at the spiked mace, both are dressed in the old-fashioned way, with armor reminiscent of the Roman world. A third knight, this time dressed in contemporary fashion, is aided by two attendants while wearing imposing armor with feathered hat. Figures of knights are not unusual in the catalog of Cecco Bravo, a seventeenth-century Florentine painter known for his original style and a personality as fascinating as it is enigmatic. Compare works such as Angelica and Ruggero from the Smart Museum of Art, Chicago, Erminia and the Shepherds from the Pistoia Civic Museums, or Angelica and Ruggero from the Palazzo Pretorio in Prato. But it is above all the brushstrokes, loose and characteristically effused painting, built on flaky strokes of color, on the contrasts between transparencies and strokes of fuller material, between glows and backlight effects, that characterizes this work, thus linking it to the art of Montelatici. A quirky spirit, Cecco Bravo also approached the artistic environment of Veneto, particularly painters such as Sebastiano Mazzoni and Domenico Fetti. The painter's independent activity is recorded from 1624, as can be seen from some court citations from the Accademia del Disegno, in which he begins to be mentioned as Cecco Bravo. He became an academician of that institution in 1637 and remained a member until 1659, shortly before his departure for Innsbruck to the court of Archduke Ferdinand Charles of Austria and Anna de' Medici, counts of Tyrol. Among his most famous works are the frescoes on the northern wall in the Salone degli Argenti on the ground floor of the Pitti Palace. The frescoes, created on the occasion of the wedding between Ferdinando II de' Medici and Vittoria della Rovere, were completed between 1638-1639 and depict Lorenzo the Magnificent Bringing Peace and Lorenzo the Magnificent Welcoming Apollo and the Muses. They demonstrate painting with fluid and transparent chromatics derived from Pietro da Cortona, who had recently completed the frescoes in the Stufa room also in Pitti. After 1650 Montelatici's painting moved toward a greater formal restlessness, dominated by somber tones, aimed toward the dematerialization of space, defined rather by increasingly shaded brushstrokes against the background. In this particular case, the materiality of the brushstrokes is accentuated even more by the particular medium, slate, which absorbs little or no oil paint and leaves the colors very bright and vivid. The choice of this stone as a support is explained by its preservation capabilities and special pictorial rendering, not for nothing did great artists such as Titian and Sebastiano del Piombo use it but there would be many to list the painters of the past who used this stone, especially in the 16th and 17th centuries.

Attributed to:
Francesco Montelatici detto Cecco Bravo (1601 - 1661, Italian)
Dimensions:
Height: 18.9 in (48 cm)Width: 17.72 in (45 cm)
More Editions & Sizes:
47x48 cmPrice: $14,057
Medium:
Stone,Oil
Period:
17th Century
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639215495922

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