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19th Century Head of St. Peter Painting Oil on Canvas by Follower of Piazzetta

About the Item

Follower of Giambattista Valentino Piazzetta (Venice, 1682 - there, 1754) Head of St. Peter Oil on canvas applied on cardboard, 36.5 x 34.5 cm With frame 42.5 x 41 cm The claves Regni Coelorum, an essential Petrine attribute, shyly peek out in this painting, with the sole purpose of allowing the character to be recognized. The wholeness of attention is indeed conveyed to the Saint, from aching humanity and divine inspiration. Pietro is rendered with a liquid epidermis, illuminated by a pearly light that slips and drips to define the overbearing nose, cheekbones and browbone; while the vitreous humor of the eye turns bright to the sky, to investigate the highest wills of the divine mystery. The portrait, rendered here in intense monochrome, denounces the direct dependence of the present artist on the suggestions of Giambattista (Valentino) Piazzetta, one of the greatest among the eighteenth-century Venetian masters. Following an immature apprenticeship in the field of wood carving with his father Jacopo, a sculptor from Pederobba, in the Treviso area, Piazzetta retired to the workshop of Antonio Molinari (1655-1704), an exponent of the early Venetian mannerism. At the turn of the century, the artist made the only formative journey of his life, directed towards the city of Bologna. Here he received the naturalism of Giuseppe Maria Crespi (1665-1747), with whom he worked so hard that, later, a pupil of the Piazzetta, Antonio Martinetti, left cheerful testimony of the amazement of Crespi himself in front of the results achieved by the apprentice , in his comment: "You know more than I do, and I need to learn from you instead." Piazzetta exceptionally adopted, being a Venetian artist, the Caravaggesque colorism, openly taken as a model in the translation of the strong chiaroscuro contrasts, combined with the immediate crudeness of the Emilian Guercino (1591-1666). Returning to Venice in 1711, the artist cleared his palette by studying, during the 1920s, Strozzi and Liss, who were directly active in the lagoon city, but also Solimena and Rembrandt, from which a serenely calm brightness derived. The fresco of the Glory of San Domenico dates back to 1725 for the dome of the Church of Ss. Giovanni e Paolo (San Zanipolo), which Tiepolo had also aspired to create; Traces of the hoped-for order from Tiepolesque remain in the sketch painted by this artist on the occasion of the competition (1723, Venice, Gallerie dell'Accademia). The entrance in the 1920s had highlighted the happiest period of the Piazzetta: remember, among all the works, L'indovina (Louvre), Rebecca al pozzo (Brera) and the capital San Jacopo dragged to martyrdom (Church of San Stae, Venice). It is possible to compare this painting with the more genuine pictorial matrix of Piazzetta, who executed two Petrine portraits very similar to the present, proposed here by the follower in a renewed and very luminous humanity, the last one on the antiques market (Christie's auction) on 5 June 1980 (lot no.22), the other in a private collection. The same male face turned to heaven with intimate transport, of equal physiognomy, even in the beard, was re-proposed by Piazzetta in Giuseppe del San Giuseppe with the Child (Prague, Nàrodni Galerie) and also, sensationally, in the shocked Apostle of the Assumption of the Virgin (1735, Paris, Musée du Louvre), from which some critics argue the model for the aforementioned two heads of St. Peter must derive. Finally, remember the St. Peter of Hamburg (Scholz-Forni collection).

Similar to:

Giovanni Battista Piazzetta (Painter)

Dimensions:

Height: 16.15 in (41 cm)Width: 16.74 in (42.5 cm)Depth: 1.58 in (4 cm)

Materials and Techniques:

Canvas,Paper,Hand-Painted,Oiled,Painted

Place of Origin:

Italy

Period:

19th Century

Date of Manufacture:

19th Century