Testa di Vecchio

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Francesco Fracanzano
Testa di Vecchio

About the Item

Francesco Fracanzano (Monopoli 1612-Napoli 1656) Testa di vecchio Olio su tela, cm 66x52,5 La tela presenta la figura di un uomo anziano a mezza figura con lo sguardo rivolto verso sinistra, ritratto su un fondo scuro, colto in un'espressione di sofferenza e di dolore, ripreso con le mani congiunte in atto si preghiera. I caratteri stilistici dell'opera basati su un contrastato incarnato, una forte accentuazione dell'espressione sofferente efficacemente espressa dal punto di vista luministico, la minuta descrizione dei particolari del volto, dalla folta barba bianca sapientemente descritta, fino all'aggrottarsi della pelle del viso in cui si notano due piccole gocce di lacrime, riconducono a modelli di santi e profeti eseguiti a mezze figure elaborati nel Seicento a Napoli da Jusepe Ribera, qui tradotti in forme alquanto espressive ed efficaci. L'iconografia del dipinto potrebbe suggerire che possa trattarsi dell'effigie di un santo (San Pietro?), ma anche di un filosofo, emaciato nelle carni, scavato nel volto da profonde rughe, con uno sguardo nobile e profondo. La rappresentazione di mezze figure di santi e filosofi fu una moda nata proprio nella bottega di Ribera nella capitale partenopea e diffusasi poi anche in provincia grazie ai suoi numerosissimi allievi, tra i quali si ricordano Massimo Stanzione o Francesco Fracanzano. Ed è proprio a quest'ultimo che il dipinto va riferito se posto a confronto con le sue numerose composizioni intonate sullo stesso soggetto e che presentano un identico ductus pittorico. Si confronti ad esempio l'anatomia del volto del presente dipinto con il San Pietro del Museo di Capodimonte di Napoli (efr. Battistello Caracciolo e il primo naturalismo a Napoli. Catalogo della mostra, a cura di F. Bologna, Napoli 1991, p. 341, n. 2.117) o quello sempre di San Pietro in una collezione privata di Reggio Emilia (Fig.1); per una rassegna della sua produzione, si veda A. Della Ragione, Francesco Fracanzano, Opera completa, Napoli 2011). L'aspetto più saliente dell'opera è la decisa accentuazione della cromia del volto dai forti contrasti tonali, così come anche nella veste che rende l'opera alquanto interessante e particolare e che va inserita senza dubbio nell' orbita della produzione del pittore napoletano, annoverandosi tra le prove meglio riuscite, da datarsi intorno agli anni cinquanta del Seicento. // Francesco Fracanzano (Monopoli 1612-Naples 1656) Head of an old man Oil on canvas, 66x52.5 cm The canvas presents the figure of a half-length elderly man with a look facing left, portrayed against a dark background, caught in an expression of suffering and pain, taken up with hands joined in prayer. THE stylistic characters of the work based on a contrasting complexion, a strong one accentuation of the suffering expression effectively expressed by the point of luministic view, the minute description of the details of his face, from the thick one wisely described white beard, up to the wrinkling of the skin of the face in which two small drops of tears are noticed, they lead back to models of saints and prophets executed in half figures elaborated in the seventeenth century in Naples by Jusepe Ribera, here translated into quite expressive and effective forms. The iconography of the painting could suggest that it may be the effigy of a saint (San Pietro?), But also of a philosopher, emaciated in the flesh, hollowed out in the face by deep wrinkles, with a noble and deep look. The representation of half figures of saints and philosophers was a fashion born in the workshop of Ribera in the Neapolitan capital and then spread also in the province thanks to his numerous pupils, among which Massimo Stanzione o Francesco Fracanzano. And it is precisely to the latter that the painting must be referred to compared with his numerous compositions sung on the same subject and presenting an identical pictorial ductus. For example, compare the anatomy of the face of this painting with the San Pietro of the Capodimonte Museum in Naples (cf. Battistello Caracciolo and the first naturalism in Naples. Catalog of the exhibition, edited by F. Bologna, Naples 1991, p. 341, n. 2.117) or that of San Pietro in a private collection in Reggio Emilia (Fig. 1); for a review of his production, see A. Della Ragione, Francesco Fracanzano, Complete work, Naples 2011). The more aspect salient of the work is the decisive accentuation of the color of the face by the strong tonal contrasts, as well as in the dress that makes the work somewhat interesting and particular and that must undoubtedly be inserted in the orbit of the production of the Neapolitan painter, counting among the best proofs successful, to be dated around the fifties of the seventeenth century.

Creator:
Francesco Fracanzano (1612 - 1656, Italian)
Dimensions:
Height: 35.44 in (90 cm)Width: 30.71 in (78 cm)Depth: 2.37 in (6 cm)
More Editions & Sizes:
90x78x6Price: $45,355
Medium:
Canvas,Oil
Movement & Style:
Baroque
Period:
17th Century
Condition:
Gallery Location:
Balerna, CH
Reference Number:
1stDibs: LU2122210888442

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