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Central Italian school, second half of the 16th century, Oration in the Garden

$4,515.71

£3,325.81

€3,760

CA$6,143.27

A$6,826.53

CHF 3,577.17

MX$83,715.18

NOK 45,624.75

SEK 42,922.09

DKK 28,624.30

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Central Italian school, second half of the 16th century Oration in the Garden of Gethsemane Oil on canvas, 80.5 x 65.5 cm Christ's prayer in the Garden/Bush of Gethsemane, located on the western slope of the Mount of Olives outside the eastern walls of the Holy City of Jerusalem, constitutes one of the most significant moments of the Christian religion and therefore one of the most finely analyzed subjects in the field of art. Its iconography implies precise symbolism, starting with the three apostles present at the event, Peter and the two sons of Zebedee, James and John. It is no accident that the three are the same as at the Transfiguration: for if this is the occasion on which Jesus reveals the unspeakable nature of the True God, showing Himself to be One and Triune, the prayer in the garden is the clear prelude to the death of Christ Himself. The recurrence of the three is justified in the Pauline explanation that the truth shown through the Transfiguration is attainable only through Christ's death; the three are thus symbolic of the Son's imminent but necessary death so that through the Passion the redemption of humankind can take place. In the painting, Jesus' need to die is also symbolized by the chalice extended to him by the angel, mentioned only in Luke (22:43), to whom Christ addresses the words "My Father, if it is possible, take this chalice away from me!" (Mt. 26:39), and metaphorically containing the blood of sacrifice. In the distance, on the right, the handful of soldiers led by Judas can be seen approaching. The painting is clearly influenced by suggestions derived from Michelangelo's and Raphaelesque lessons borrowed in the Roman context (especially in the rendering of the apostles), here taken from the Central Italian school, perhaps specifically from Cremona. Compare this oration with the almost identical one by Marcello Venusti (Mazzo di Valtellina, 1510 - Rome 1579). Venusti learned Raphael's vocabulary through his master Perin del Vaga, a direct pupil of Urbino, to which he added Michelangelo's figurative analysis when the Roman patrician Tommaso de' Cavalieri passed on to him drawings with mythological subjects that Michelangelo had given him. Venusti also dabbled in copying many of Michelangelo's works, one recalls among them the replica, on canvas, of the Last Judgment commissioned by Cardinal Alessandro Farnese (1549). Similarly, Girolamo da Carpi (Ferrara, 1501 - ivi 1556), author of an oration with the same approach, following an apprenticeship with Benvenuto Tisi known as il Garofalo was converted to Raphaelesque ways through Giulio Romano, whom he met in Mantua. Further evidence of the common Roman substratum, but diluted by Emilian figurativism, is the St. Peter stretched out in the foreground, which can be glimpsed in a painting of the same subject by Giulio Campi (Cremona, 1502 - ivi, 1572), now in the Pinacoteca Ambrosiana and datable between the 1650s and 1570s; Campi, too, before embracing the Mannerist looseness of Camillo Boccaccino, had been influenced by Giulio Romano, at the time an untamed source of artistic novelty. By contrast, the same Christ returns in an oration in a private collection by the adopted Roman Taddeo Zuccari (Sant'Angelo in Vado, 1529 - Rome 1566), who also, just 14 years old, was profoundly influenced by Raphael and Correggio when he reached the capital. Similar magnetism, in later years, recurs in Ludovico Cardi known as il Cigoli (Cigoli di San Miniato, 1559 - Rome, 1613) strongly indebted in style, see the oration in the Museo civico di Montepulciano, from Santi di Tito (Firenze, 1536 - there 1603), himself adopting Raphaelesque classicism after a trip to Rome between 1558 and 1564 (where, moreover, he joined Taddeo's brother Federico Zuccari on the decoration of the Casina of Pius IV). As a final comparison to the present canvas it is possible to address an oration, owned by the diocese of Faenza Modigliana, by Giovan Battista Ramenghi (Bologna, 1521 - ivi, 1601) a daring advocate of the more conservative Emilian school, of declared Raphaelesque dependence, in opposition to the rising Bolognese star of the Carracci.

Dimensions:

Height: 25.6 in (65 cm)Width: 31.5 in (80 cm)Depth: 1.97 in (5 cm)

Style:

Other (In the Style Of)

Materials and Techniques:

Canvas,Oiled

Place of Origin:

Italy

Period:

18th Century and Earlier

Date of Manufacture:

16th Century

Condition:

Wear consistent with age and use.

Seller Location:

Milan, IT

Materials

Canvas

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Central Italian school, second half of the 16th century, Oration in the Garden

About the Item

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