Pietà Trevisani Paint Oil on canvas Old master 18th century Italy Michelangelo

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Pietà Trevisani Paint Oil on canvas Old master 18th century Italy Michelangelo
1700-1770

About the Item

Francesco Trevisani (Capodistria 1656 - Rome 1746) workshop of La Pietà (or Lamentation of Christ taken down from the cross) Roman school of the early eighteenth century Oil on canvas, 134 x 148 cm (with thin gold frame) In this magnificent altarpiece depicting the Pietà we see illustrated the apex of the sacred union between the Madonna and Christ. Immediately after being taken down from the Cross, Jesus is received gently in the arms of the Virgin. His body is abandoned on the knees of the Madonna, with one arm sliding along the legs and the head bent back. As for the original destination, the format of the canvas suggests that it was aimed at private devotion, perhaps placed on the altar of a family chapel. The painting takes up the scheme of the famous Pietà by Annibale Carracci, currently kept at the National Museum of Capodimonte in Naples, among the masterpieces of the great master, and commissioned by Odoardo Farnese to be placed in his own Roman palace. In turn, the structure of the painting can only evoke the magnificent Michelangelo sculptural model of St. Peter, with the body of Christ resting on the legs and belly of the Madonna, thus creating an intimate connection between the two. However, Mary is seated on the ground (and not on a throne as in the Vatican statue) and the body of Jesus has her legs lying on the ground, stretched over the shroud. And again, we also find the pyramidal compositional scheme in which he also inserts an angel holding the left hand of the gentleman. A second angel is placed on the left side of the canvas and pricks a finger with the crown of thorns, resting on the ground, while turning his gaze directly to the observer. The Virgin's composed pain is then accentuated by the choice to place the nape of Jesus in the hand of Mary until now, which delicately supports the head of her son. The right hand of Mary, on the other hand, depicted in a skilful foreshortening, is stretched forward in a gesture of resigned pain: this detail is also a further homage to Michelangelo's statue. The whole group is placed in front of the still open tomb (perhaps an allusion to the resurrection) and rests on the rough earth. The darkness of the night envelops the mother, the son and the angels that emerge from the darkness thanks to the very effective light effects and the beautiful colors that pervade this little masterpiece, and which give the painting an atmosphere of intimate emotion. Of Apollonian beauty is the body of Jesus on which the wounds of the Passion are barely hinted at. The sculptural vigor of Christ is associated with Carracci's moment of greatest attention to ancient statuary and to the great figures of the Roman Renaissance, linked to the creation of the frescoes on the vault of the Farnese Gallery. The work, called Pietà Farnesiana, was so successful that it was reproduced throughout the seventeenth century and again in the early eighteenth century with numerous copies and derivations, as well as engraved transpositions. Returning with attention to the valuable version in question, it is easy to grasp all the superb mastery of the author, leading us to trace its identification within the Roman school of the early eighteenth century, and in particular the prolific workshop of Francesco Trevisani (1656 - 1746), even if it is difficult to accurately trace a particular pupil. To confirm the approach of the canvas to Trevisani, it is enough to compare it with other similar compositions by the master who, as we all know, developed this subject on numerous occasions. The studied chromatic sequences, combined with the very accurate chiaroscuro rendering, inherited from his artistic training in Venice, an exceptional sweetness of the drawing inherited from the classicism of Maratta, and finally the refined rendering of the physiognomies, confirm this reference. Although the attribution area is certain, the work certainly deserves a more in-depth study to identify its hand with precision. Storage conditions: The conditions of the painting are excellent; the work has been cleaned, and is presented in all its splendor, without significant restorations or retouching. Painting accompanied by a certificate of photographic authenticity in accordance with the law. For more information, please contact us.

Creation Year:
1700-1770
Dimensions:
Height: 52.76 in (134 cm)Width: 58.27 in (148 cm)
Medium:
Oil
Movement & Style:
Old Masters
Circle Of:
Francesco Trevisani (Capodistria 1656 - Rome 1746) (1656 - 1746, Italian)
Period:
18th Century
Condition:
Gallery Location:
Riva del Garda, IT
Reference Number:
1stDibs: LU98818291472

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