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The Lamentation of Christ, Italy, 16th century; oil on panel

$11,392.20

£8,474.65

€9,500

CA$15,599.82

A$17,344.87

CHF 9,056.54

MX$211,129.36

NOK 115,557.46

SEK 108,271.82

DKK 72,318.25

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About the Item

Description The mourning of Christ Oil on Board cm 47,5x65,5 The panel can be traced to a sixteenth-century artist and active along the Adriatic route. The old attribution, referring to the very early Venetian activity of Domínikos Theotokópoulos known as El Greco (Candia, 1541; Toledo, 1614), had originated in the 1950s when the label of "madonnero" for this specific genre was promoted by Rodolfo Pallucchini, who, arguing for Tintoretto's youth, claimed that: "in Venice, today there is no longer any doubt, for some years the Greco worked as a madonnero." From these dates an attributive misunderstanding about the artist's early production was then created. Pallucchini, however, was not the only one; many other scholars referred works to "El greco madonnero," and among them, to name the best known, are Giuseppe Fiocco, Sergio Bettini, Roberto Longhi, and Antonio Morassi. It was only in the 1960s, thanks to Arslan's interventions, that the phenomenon found a natural re-dimension. It was, in fact, the rule of the Serenissima that generated the Cretan Renaissance, which made the meeting of the two artistic traditions fruitful. Phenomenon that also generated a change in the social arrangements of the island thanks to trade and the emergence of a merchant bourgeoisie increasingly adherent to lagoon culture and at the same time a Venetian population capable of absorbing and coexisting with these illustrious traditions. This new pictorial conception found diffusion thanks to the masters who traveled along the sea routes, popularizing an illustrative taste by no means destined to fold in on itself. Prints, icons, and precious canvases from East and West were the basis of extraordinary creations and to the phenomenon of Domenikos Theotokopoulos, an artist capable of renewing the examples of Titian, Jacopo Bassano, Andrea Schiavone, and Polidoro da Lanciano by imagining real formal revolutions. Again, innovation has its focus in the use of color, glazed according to Byzantine taste but tonal and iridescent according to the Venetian lesson, reaching in some cases very high levels of quality. This judgment can be applied to the panel under consideration, whose aesthetic value is certainly far from that commonly achieved by madonnarians, and it can be perceived by observing the refined drafting corroborated by chromatic preciousness. Dimensions 47.5x65.5 cm Provenance Private Collection Bibliography Pallucchini Rodolfo, The Youth of Tintoretto, Milan, Daria Guarnati, 1950, p. 58. Panayotis K. Ioannou, El Greco among the "Madonneri": criticism, ideologies, the market. New Lights on the Recovery of the Modena Triptych (1937), Studies in Art History, vol. 27, 2017, pp. 151-174, notes 68-76. Arslan Edward, Cronistoria del Greco "madonnero," in Commentari, XV, De Luca Editore, Rome, 1964, 3-4, pp. 213-231. ■Condition Missing and defects. Breakage. Restorations.

Dimensions:

Height: 18.71 in (47.5 cm)Width: 25.79 in (65.5 cm)Depth: 1.97 in (5 cm)

Materials and Techniques:

Wood,Oiled

Place of Origin:

Italy

Period:

16th Century

Date of Manufacture:

1500-1600

Condition:

Repaired: Missing and defects. Breakage. Restorations. Wear consistent with age and use. Minor losses.

Seller Location:

Brescia, IT

Reference Number:

1stDibs: LU10324244495642

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