Sleepwalker

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About the Item

Artist: Vincenzo Catalano (attr.) Title: Sleepwalker, 1848 Medium: oil on canvas Exhibition: Exhibition of Fine Arts of the Royal Borbonic Museum of 1848, p. 36, no. 208. Provenance: Minister of Justice of the Borbonic Kingdom A female figure advances in the darkness girded in a robe that leaves nothing to the imagination, clinging to the shape of the body and sagging on one side, so much so as to leave a turgid breast uncovered. This milky apparition - who illuminates the night with her own presence, rather than with the candle she carries in her right hand - is the protagonist of a painting that thrives on romantic suggestions, all expressed in the natural setting dominated by the ruin on the right and illuminated by moonlight. One seems to hear, in the silence of the night, the lapping of the small waterfall on the left that drives the mill above the water. The young woman, barefoot and discreet, is caught walking on a wooden plank set up like a small bridge to cross the watercourse, moving smilingly and absently towards the spectator. It is not difficult to identify in the subject of this painting the somnambulist Amina, the famous protagonist of the opera set in an unspecified village in Switzerland that Bellini composed to a libretto by Felice Romani and which debuted on the evening of 6 March 1831 at the Teatro Carcano in Milan with the famous Giuditta Pasta in the role of the main character. In the rather large iconographic fortune of this subject, compared to other portrayals such as William Hall & Son's fairy-tale lithographs of the mid 19th century, the painting by the Czech symbolist Maximilián Pirner (1878), and that of the French academic Édouard Rosset-Granger (1897), the memory of the sleepwalker Lady Macbeth, eternalised on canvas by the genius of Füssli (1784), also lives on in this opera. But compared to that hallucinated, dreamlike vision, a point of reference for later artists, here we are in the presence of a rather accommodating translation, albeit veined with a sensual and erotic coté, of the single episode from Bellini's opera. Appearing on the antiquarian market under the title A moonlit rendezvous, the painting is part of the 19th-century European production of the Romantic area dominated by suggestive and dreamy visions of theatrical derivation. The attribution to Andrei Franzowitsch Belloli, born Andrea Belloli, a painter from Ronciglione, in the Viterbo area, who trained at the Accademia di San Luca between 1842 and 1843 with Tommaso Minardi and then moved to St. Petersburg in 1859, where he specialised in portraits and paintings of beautiful young girls, often naked and bathing, is puzzling. In fact, comparing some of these female figures with the Sleepwalker in question, the differences become apparent, especially in the way the skin is treated and in the way the ovals are made. In our case, we are dealing with an academic artist, as can be seen from the insistent play and folding of the dress and the definition of the hands and feet. This could be a southern artist such as Vincenzo Catalano, a painter active at the Bourbon court in the mid-19th century, whose interesting painting Petrarch at the Court of Robert of Anjou is well known, a typical composition of the period that imaginatively and sympathetically reconstructed a historical and cultural episode from the past, such as the presence of the poet from Arezzo in the French ruler's Naples. It is in particular the way the eyes are rendered that positions us on this attribution, reinforced by the fact that, in the Catalogue of Fine Arts exhibited in the Royal Bourbon Museum on 15 August 1848, a work by this painter, listed as an honorary professor at the Royal Institute of Fine Arts, is described as follows: 'No. 208. Sleepwalker. Carefree, indecisive, she slowly crosses a bridge, illuminated on one side by the light of her lantern, and on the other by the uncertain glow of the moon. Quad.'. Giulio Brevetti First canvas scattered microscopic retouches restoration of about 4 cm in the centre/low on the robe

Attributed to:
Vincenzo Catalano (Italian)
Creation Year:
1848
Dimensions:
Height: 90.56 in (230 cm)Width: 70.87 in (180 cm)
Medium:
Oil
Movement & Style:
Academic
Period:
1840-1849
Condition:
Gallery Location:
Roma, IT
Reference Number:
1stDibs: LU1926212046142

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