17th Century Painting Oil on Canvas Italian "the Violin Player", 1638

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17th Century Painting Oil on Canvas Italian "the Violin Player", 1638

About the Item

The violin player La Musicante - Bernardo Strozzi (and Studio) Bernardo Strozzi, known as the Cappuccino and the Genoese Priest (around 1581 - 2 August 1644) was an Italian Baroque painter and engraver. A canvas and fresco artist, his vast range of subjects included history, allegorical, genre and portrait paintings, as well as still lifes. Born and initially active mainly in Genoa, he worked in Venice in the last part of his career. His work exerted considerable influence on artistic developments in both cities. He is considered one of the main founders of the Venetian Baroque style. Its powerful art is distinguished by its rich and luminous color and the broad and energetic brushstrokes. Strozzi was born in Genoa. It is not believed to be related to the Florentine Strozzi family. Bernardo Strozzi was initially trained in the workshop of Cesare Corte, a small Genoese painter whose work reflected the late Mannerist style of Luca Cambiaso. Later he joined the laboratory of Pietro Sorri, an innovative Sienese painter residing in Genoa from 1596 to 1598. Sorri is credited with Strozzi's primacy from the artificial elegance of Cambiaso's late Mannerist style towards greater naturalism. In 1598, at the age of 17, Strozzi joined a Capuchin monastery, a reformist extension of the Franciscan order. During this period he probably painted devotional compositions for the order, including many scenes with St. Francis of Assisi whose life and actions were the inspiration of the order. While a monk from the Capuchin monastery of San Barnaba was called by his nickname "the Cappuccino" (the "Capuchin monk"). Since he was allowed to abandon his Capuchin habit for that of a priest, he was also known as the Genoese priest (the "Genoese priest"). When his father died around 1608, Strozzi left the Capuchin monastery to take care of his mother and his unmarried sister. He supported his family through his paintings. Strozzi's career took off in the following decade and the powerful families of Doria and Centurione of Genoa became his patrons. Bernardo Strozzi was able to secure commissions for the large wall decorations, which culminated in the important frescoes in the choir of the church of San Domenico, commissioned by members of the Doria family, Giovanni Carlo and his cousin Giovanni Stefano. The work is now almost entirely destroyed and is known only through a preparatory sketch in oil for the vault depicting "The vision of San Domenico (Paradiso)", located at the Museum of the Linguistic Academy of Genoa. From 1625 Strozzi's relationship with the Capuchin order became tense. The order accused him of having committed an act no longer known that had allegedly caused "shame to his sacred habit". Some authors claim that the act was the illegal practice of painting beyond the walls of the convent. [8 It is known that his Capuchin superiors condemned the secular paintings he was doing, such as his portraits and genre paintings. The conflict took a turn in 1630 when Strozzi refused to return to the monastery following his mother's death and his sister's marriage. His superiors then had him imprisoned. [10] His arrest lasted from 17 to 18 months. In 1632-1633 the artist had re-emerged in Venice where he had been allowed to work and live. Strozzi was able to build a solid reputation within two years, despite not being a Venetian native. He gradually became famous as one of the greatest artists of his time. The Doge of Venice Francesco Erizzo became one of his most illustrious patrons. Probably Strozzi painted the portrait of the Doge shortly after his arrival in Venice. Other patrons included the Catholic cardinal and patriarch of Venice Federico Baldissera Bartolomeo Cornaro and some members of the famous Grimani family, as well as important Venetian artists such as the musicians Claudio Monteverdi and Barbara Strozzi and the poet Giulio Strozzi (it is not clear if the two families were closely related). The artist has worked on important public commissions. He made altarpieces in the Church of the Incurables and in the Church of San Nicolò da Tolentino and painted a tondo depicting an allegory of sculpture for the reading room of the Marciana Library. Strozzi was granted the use of the honorific Master even though the Genoese priest was generally known under the popular. The proposed painting: "La Musicante" is a testimony to understand how Strozzi's studio worked. After the autograph works of the Painter there are dedicated some works and replications performed by the Strozzi himself with the help of the studio. In this specific context the proposed work arises which, compared to the autograph version kept in Dresden, has very few variations and is generally more compact in the more defined drawing in the lines. The brushstroke that defines the drapery is less soft and more restrained, just as the one that treats the face and the meat is less vaporous. Certificate of appraisal performed by the art critic Anna Orlando. This object is subject to the superintendence of the fine arts, therefore it must be accompanied by free circulation, release times range from 10 days to 50 days

Dimensions:
Height: 51.19 in (130 cm)Width: 38.19 in (97 cm)Depth: 1.19 in (3 cm)
Materials and Techniques:
Canvas,Oiled
Place of Origin:
Italy
Period:
17th Century
Date of Manufacture:
1638
Condition:
Wear consistent with age and use.
Seller Location:
Torino, IT
Reference Number:
1stDibs: LU4685215499922