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Francesco CurradiJohn the Baptist
About the Item
Oil on canvas
Image size: 17 x 21 inches (43 x 53 cm)
18th Century Carlotta frame
Provenance
Private Country Estate
When depicting John the Baptist artists often added an outer garment of cloth, often in a red or orange toga-like arrangement. Here the artist has depicted John the Baptist clothed in robes of this type with the traditional attribute of the halo above John's head.
John gazes downwards wistfully with a soft and gentle expression conveying his emotional state.
Saint John's solemn pensiveness is reinforced by deep shadows that play across the body of the saint, with a bright light illuminating from above and to his right. Indeed, as John is lit strongly the bold contrasts between light and dark not only give dimension to John's features but also the subtle use of chiaroscuro employed by the artist brings a dramatic element to the composition.
The story of John the Baptist comes from the New Testament, particularly the gospels, and from Flavius Josephus's work, 'The Antiquities of the Jews'. After living an ascetic life in the desert, John emerged into the lower Jordan Valley preaching about the imminent arrival of God's judgement, and urging his followers to repent their sins and be baptised in preparation for the coming Messiah.
John the Baptist's preparatory message attracted thousands of followers to Jerusalem and Judea. Jesus came to John while he was baptising people in the River Jordan and asked to be baptised himself. John subsequently baptised Jesus in the River Jordan.
Francesco Curradi was born in Florence in 1570 son of the sculptor Taddeo Curradi. He is traditionally believed to have been a pupil of Giovanni Battista Naldini and graduated from the Accademia del Disegno in 1590. Curradi was one of the most sought-after painters of religious subjects in seventeenth century Florence: his works from the 1630s and 1640s present clear and uncomplicated compositions with a certain pious melancholy.
He played an important role in Florentine Seicento painting, fusing the ideology of the Counter Reformation with his own delicate decorative charm. A secure chronology for his work is, however, difficult to establish, for his mature style was established by 1620 and changed little after that.
- Creator:Francesco Curradi (1570 - 1661, Italian)
- Dimensions:Height: 17 in (43.18 cm)Width: 21 in (53.34 cm)
- More Editions & Sizes:17 x 21Price: $32,878
- Medium:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU52413971422
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The Artist
Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the Death of Nelson and a posthumous portrait of Nelson.
Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay).
He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds.
He was appointed draughtsman on the British East India Company's packet Antelope in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library.
He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office.
He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic Death of Nelson, which proved a sensation.
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