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Girolamo da Treviso, St. Rocco, ancient painting on wood panel

Name: Girolamo da Treviso, St. Rocco, ancient painting on wood panel
Brand: Girolamo da Treviso
Price: 5089.16 USD
Availability: InStock

About the Item

Jerome of Treviso Treviso, 1498 - Boulogne, 1544 Saint Roch oil on panel, 23.7x17.9 cm within ebonized and painted wood frame totaling 42x35.5 cm Accompanying the work expertise on black-and-white photograph by Prof. Fiocco dated 5/27/1067. The work, in good condition, depicts a man taken in profile looking to the right. Long hair and a chestnut beard frame the face of a gentle, attentive man; the hand on his chest at heart level, resting on a red robe laid over a light shirt skillfully rendered by the master capable of rendering its transparency. The figure portrayed would turn out to be Saint Roch, depicted here without his typical attributes with the physical features that characterize him such as, precisely, his thick beard and long hair. An internationally renowned and multifaceted artist (he practiced engraving, painting, sculpture, and war engineering with alternating fortune), he seems to have begun his activities in the world of publishing when, in 1515, Bernardino Benali applied to the Venetian Senate for a printing privilege for a woodcut depicting Susanna and the Old Men, signed with the monogram HRTV. This sign, which can be interpreted as Hieronimus Tarvisius (or Trevisus), is very similar to those that appear in a group of paintings now agreed to be attributed to Jerome: two small canvases in the Musée des beaux- arts in Rouen with Hagar, the angel and Ishmael and the Blessing of Jacob, the so-called Nude in the Kunsthistorisches Museum in Vienna, and the Sleeping Venus in the Galleria Borghese in Rome. These early works-plus the others reported by Fiocco, Tempestini (1989) and Lucco (1999), among which at least the Presentation of Christ in the Temple at the parish church of Ca' Morosini (Padua) and Christ in Limbo at the Alte Pinakothek in Munich deserve mention-show a figurative culture still linked to Treviso humanism, reinvigorated by the presence of Lorenzo Lotto and Pier Maria Pennacchi, but also up-to-date on what could be seen again in Venice in 1515, from Giorgione's work at the Fondaco dei Tedeschi to Titian's early works and perhaps Savoldo's lagoon beginnings. In 1519, following the election of Bishop Bernardo de' Rossi of Treviso as papal viceroy of Bologna, Girolamo had to move to the city of Bologna. During his long stay in the city he produced numerous works such as the Noli me tangere in S. Giovanni in Monte, the Assumption of the Virgin in San Petronio, and the high altarpiece for the hospital of San Biagio depicting the Madonna and Child in Glory between SS. Petronio, Pietro, Paolo and Filippo Benizzi, formerly housed in the Gemäldegalerie in Dresden and disappeared in 1945. Then again, two marble panels for the right side portal of St. Petronius (The brothers deliver Joseph's bloody robe to Jacob) for which allotment and payment documents exist, and the Finding of the cup in the sack of Benjamin, attributable to him due to stylistic proximity. In addition to this I also realize the decoration of the Saraceni family chapel in S. Petronio with the Miracles of s. Anthony of Padua. In the same years Girolamo obtained from Giovan Battista Bentivoglio, already the painter's guarantor in the contract for the S. Biagio altarpiece, the commission to transpose into painting the Adoration of the Magi that Baldassarre Peruzzi had left in the state of a cartoon at the time of his departure for Rome in mid-1523. The large panel, now at the National Gallery in London, is a happy attempt to merge the culture of the last Raphael with the Veneto-Ferrarese chromatics: the Eterno above traces what the Urbino had invented in the Vision of Ezekiel, painted for the Bolognese Hercolani family (Florence, Galleria Palatina); while in the landscape studded with classical ruins we glimpse a homage as much to the archaeological fashion proper to the Rome of Leo X as to the antiquarian preferences of Peruzzi himself. A similar taste characterizes the Adoration of the Magi in the Museo Civico di Treviso, where, however, in addition to self-quotations from the drawings used by Francesco da Nanto for his woodcuts, Nordic, Dürerian influences can be recognized in the rendering of the landscape and the definition of the costumes. In the summer of 1527 it is assumed that Girolamo left Bologna for Mantua, where he joined the team engaged in the decoration of Palazzo Te under the direction of Giulio Romano. Between September and December of that year he worked on the ornamentation of the Hall of the Winds, frescoing the nine hexagons of the vault with Classical Months and Deities and, perhaps, four of the sixteen medallions on the walls, in a very similar hand, depicting the Sale of Antidotes, the Fishing of the Sea Monster, the Clemency of Scipio, and the Swimming. From Mantua he then moved on to Genoa, where he was commissioned to begin the decoration of the palace owned by Andrea Doria in Fassolo and participated in the design of the choir stalls in the cathedral of S. Lorenzo. Before moving to Venice at the beginning of the fourth decade, he returned to Bologna where he made the Boccadiferro altarpiece (now in London, National Gallery), formerly in S. Domenico in Bologna, which depicts the Madonna and Child Enthroned, s. Joseph, s. James, s. Paolo and Ludovico Boccadiferro, already regarded by Vasari as his masterpiece (1568, p. 137). In the lagoon city he made the altarpiece for the altar of St. James in the church of San Salvador and frescoed the exterior decoration, now lost, of Andrea Odoni's house at the fondamenta dei Tolentini. Also as a fresco painter he made the decoration of the church of the Commenda in Faenza, the happiest testimony to his great mastery in this field. The result, as we can see, is the figure of an eclectic and modern artist, in the most contemporary sense of the term: an artist capable of pleasing the most diverse commissions, willing to travel to indulge his desire for success to the extent that he found evidence of his work even in England in the service of Henry XVIII.

Creator:

Girolamo da Treviso (Author)

Dimensions:

Height: 9.34 in (23.7 cm)Width: 7.05 in (17.9 cm)Depth: 0.79 in (2 cm)

Materials and Techniques:

Wood,Oiled

Place of Origin:

Italy

Period:

16th Century

Date of Manufacture:

1530

Condition:

Refinished. Wear consistent with age and use. Painted in good condition. An early 21st century restoration uncovered the right hand at the base of the work, a hand that had been covered at the time Prof. Fiocco's expertise was written.

Seller Location:

Spinea, IT

Reference Number:

1stDibs: LU6770240878912

$7,351

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