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Giovanni Giacomo SementiGiovanni Giacomo Sementi (Bologna, 1580 - 1636), SibylXVII Century
XVII Century
$22,571.63
£16,779.39
€19,000
CA$31,048.40
A$34,587.23
CHF 18,244.22
MX$419,380.85
NOK 232,092.77
SEK 216,209.11
DKK 144,717.99
About the Item
Giovanni Giacomo Sementi (Bologna, 1580 - 1636)
Sibylle
Oil on canvas, 74 x 64 cm
Framed, 93 x 84.5 cm
Oral communication Prof. Massimo Pulini
The painting is not signed
Bibliography: Armanda Pellicciari, Giovan Giacomo Sementi, pupil of Guido Reni, in Bollettino d'Arte, 1984, pp. 25-40. M. Francucci, Giovanni Giacomo Sementi between Bologna and Rome, in Paragone arte, 787-789, 2015, pp. 21-35. M. Pulini, Fragments of a monograph: part one. The metamorphoses of Gian Giacomo Sementi between independence and service, between Caravaggio and Reni, in About Art on line, June 2019, ad vocem. M. Pulini, Gian Giacomo Sementi. Portia, in Quaderni del Barocco, Ariccia Museum 2021, ad vocem.
The canvas under examination, of a clear Emilian matrix, has been traced by Professor Massimo Pulini to the hand of the Bolognese artist Giovanni Giacomo Sementi (Bologna, 1580 - 1636), based on a comparison with the same subject belonging to the Zanasi collection in Modena, previously referred to the more generic school of Guido Reni. The son of Vincenzo Sementi, his professional training took place mainly in Bologna in the workshops of the Flemish Denys Calvaert and the famous Guido Reni, whom he accompanied to Rome during his stay between 1609 and 1612 and with whom he began a prolific artistic collaboration that led to the creation of works for public and church use: the Martyrdom of St. Ursula, in the Basilica of San Martino, and the Martyrdom of St. Eugenia, at the Pinacoteca Nazionale in Bologna, date from this period strongly marked by the Caravaggio lesson learned from the master. In 1615-20 he collaborated with Francesco Gessi and Bartolomeo Marescotti under the direction of Reni, who provided preparatory drawings, on the frescoes of the Chapel of the Sacrament in Ravenna Cathedral, commissioned by Cardinal Pietro Aldobrandini, participating in the decoration of the dome, pendentives and pillars. The following year Sementi went to Naples with the master and Gessi to work on the Treasure Chapel in the cathedral, a project that failed due to opposition from local artists, as documented by Carlo Cesare Malvasia in his work Felsina pittrice (1678, 1841, pp. 246 f.). By 1624, however, he was documented in the service of Cardinal Maurice of Savoy, which prompted him to move to Rome in 1626, where he took part in the general congregation of the Academy of St. Luke. Remembered as one of the leading painters of his time by Giovanni Baglione in his Le vite de' pittori, scultori et architetti, he died in Bologna in 1636.
In the course of his career Sementi fully absorbed the lesson of Guido Reni, whose painting was distinguished by grace, compositional elegance, skillful use of color and, above all, ability to infuse the figures with an aura of profound spirituality and melancholy, while developing an artistic trait that acquired its own individuality and autonomy: one can see this propensity by looking, for example, at the altarpiece depicting the Madonna and Child Enthroned and the Saints Joseph, Francis and Saint Bishop of Poggio Mirteto, in which he arrived at a refined tenebrous synthesis that, in the stylistic course of the last years of his life, saw him dialoguing on a par with Lanfranco. At the opening of the seventeenth century, in parallel with a change in taste in the classicist direction, there was also a transformation in the iconography of the Sibyl, who went from being an elderly, wise and stern, female mirror of the figures of old prophets, and began instead to be interpreted as a charming young man. Very close conceptually to the Sibyl presented here, in addition to the already mentioned in the Modenese collection that takes up the book attribute, is Il suicidio di Porzia a mezza figura from the Durazzo Pallavicini collection in Genoa: in both cases the protagonist is portrayed in the classic evocative pose of so many saints with their eyes turned to heaven suggesting an otherworldly vision or deep meditation, recalling, through the bulk of the bust and the livid complexion, even certain Lombard examples, from Morazzone to Cairo.
In this canvas, the artist's ability to evoke a sense of transcendence while maintaining a strong physical presence emerges. The delicacy of the facial features, the softness of the coiffed hair, and the richness of the drapery help create an image of extraordinary refinement, infusing an aura of solemn dignity and a typically Rhenish pathos that makes her both profoundly human and almost divine.
- Creator:Giovanni Giacomo Sementi (1580 - 1638, Italian)
- Creation Year:XVII Century
- Dimensions:Height: 29.93 in (76 cm)Width: 25.2 in (64 cm)
- More Editions & Sizes:cm 74 x 64Price: $22,572
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216763802
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