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Attributed to Giorgio Lucchesi, Oil on Canvas "Madonna & Child" After Murillo

About the Item

Attributed to Giorgio Lucchesi (1855-1941) A large and impressive early 20th century oil on canvas "Madonna and Child" after Bartolomé Esteban Murillo (Spanish, 1618-1682) depicting a seated Virgin Mary with a baby Jesus Christ standing on her lap, within an ornate gilt wood carved frame. The original of this work dated 1638 is currently part of the collection at The Galleria Palatina (Palazzo Pitti), Florence, Italy. (Religned-Restored) The rear of the canvas inscribed "G. Lucchesi - Piazza Pitti 19 - Firenze" "Murillo Autoforma" (A Stamp and Signature from the Museum Conservatory authority*). Circa: Florence, 1910-20. Canvas Height: 62 1/4 inches (158.1 cm) Canvas Width: 42 1/4 inches (107.3 cm) Frame Height: 76 inches (193.1 cm) Frame Width: 56 inches (142.3 cm) Depth: 3 1/4 inches (8.3 cm) Giorgio Lucchesi was an Italian School Artist born in Lucques on 26 December 1955 and died on 8 February 1941. Lucca Academy, becoming a pupil of Luigi Norfini, a painter of battle scenes, portraits and religious subjects. Lucchesi, however, soon turned to genre and landscape paintings, before specializing in the still life genre for which he is today best known. An oil on canvas titled "Raisins" is exhibited at the Modern Gallery at the Rome Museum. Literature: E. Benezit Dictionaire des Peintres, Sculpteurs, Dessinateurs et Graveurs by Grund - Nouvelle Edition, 1976 - Volume 7, Page 6. *: The stamp and signature on the reverse has been obscured by the restoration. Clear images of the stamp and signature are attached to the protected backing. (See images) Ref.: A1655
  • Similar to:
    Bartolomé Esteban Murillo (Artist)
  • Dimensions:
    Height: 76 in (193.04 cm)Width: 56 in (142.24 cm)Depth: 3.25 in (8.26 cm)
  • Style:
    Baroque (In the Style Of)
  • Materials and Techniques:
  • Place of Origin:
  • Period:
    1910-1919
  • Date of Manufacture:
    circa 1910-1920
  • Condition:
    Repaired: Under UV light: Small touch-ups on baby's nose, Madonna's forehead and others. Wear consistent with age and use. Minor losses. Minor fading. The canvas has been re-stretched, cleaned & re-strengthened with a special glue. The finish is mate. The frame has some minor age losses and touch-ups. Under UV light: Small touch-ups on baby's nose, Madonna's forehead and others. View all images.
  • Seller Location:
    Los Angeles, CA
  • Reference Number:
    Seller: Ref.: A16551stDibs: LU1796210788983
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A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. 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Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. 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Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...
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