Neapolitan caravagist artist, 17th century SAINT JAMES THE MINOR

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Neapolitan caravagist artist, 17th century SAINT JAMES THE MINOR

Name: Neapolitan caravagist artist, 17th century SAINT JAMES THE MINOR
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Informazioni sull’articolo

Neapolitan caravagist artist, 17th century SAINT JAMES THE MINOR oil on canvas, cm 127x101 (The painting is part of a triptych together with the two holy apostles Saint Thomas and Saint Jude Thaddeus.) The three paintings, in excellent state of conservation and accompanied by a beautiful contemporary frame, are attributable to an interesting Neapolitan-Spanish Caravaggio painter. The earthy colours, the material mixtures with white lead highlights, the clothes in rough and heavy linen, and the halos blown, they point towards Jusepe de Ribera's milieu. From the school of the Valencian painter, recently the subject of significant studies (Papi 2007, Porzio 2014, Spinosa 2006, 2021), personalities of great interest stood out such as Bartolomeo Passante, Juan C and Hendrick Van Somer. It is to the latter that San Tommaso is closest. It stands in space with great ease, the left arm rests on a low wall, while with the right hand it delicately grasps the spear, his attribute. His frowning face with gentle strokes of white lead and his gnarled hands, give them square nails recall the features of Van Somer's Moses. The transitions are also similar bright and the colors of the robes (such as the straw yellow identifiable in Moses' tunic). San Iacopo Minore, on the other hand, is more riberesque. His face seems to know the proud examples of Saint Peter penitent by the Valencian painter, but the character is revisited in a completely new composition: the saint stands in three-quarter view and shows his face in profile as if he were hinting at movement, while his clothes crease following his rotary motion. Saint Jude Thaddeus can also be compared to Ribera's style and is represented in an unconventional way - with the attribute of the book rather than the staff - and the halo is a simple breath of wind around the Saint's head, just as the painter of Xàtiva used to do. One torch ago the subject emerges from the shadow, recalling the great Caravaggio painters by candlelight, while Saint Jude turns towards the viewer with a strong and intimidating gaze. Behind the canvas of San Tommaso an old inscription on a label, “Trontera”, comes with probability a trace to trace the original origin. The three paintings, in excellent state of conservation and accompanied by a beautiful contemporary frame, are attributable to an interesting Neapolitan-Spanish Caravaggio painter. The earthy colours, the material mixtures with white lead highlights, the clothes in rough and heavy linen, and the halos blown, they point towards Jusepe de Ribera's milieu. From the school of the Valencian painter, recently the subject of significant studies (Papi 2007, Porzio 2014, Spinosa 2006, 2021), personalities of great interest stood out such as Bartolomeo Passante, Juan C and Hendrick Van Somer. It is to the latter that San Tommaso is closest. It stands in space with great ease, the left arm rests on a low wall, while with the right hand it delicately grasps the spear, his attribute. His frowning face with gentle strokes of white lead and his gnarled hands, give them square nails recall the features of Van Somer's Moses. The transitions are also similar bright and the colors of the robes (such as the straw yellow identifiable in Moses' tunic). San Iacopo Minore, on the other hand, is more riberesque. His face seems to know the proud examples of Saint Peter penitent by the Valencian painter, but the character is revisited in a completely new composition: the saint stands in three-quarter view and shows his face in profile as if he were hinting at movement, while his clothes crease following his rotary motion. Saint Jude Thaddeus can also be compared to Ribera's style and is represented in an unconventional way - with the attribute of the book rather than the staff - and the halo is a simple breath of wind around the Saint's head, just as the painter of Xàtiva used to do. One torch ago the subject emerges from the shadow, recalling the great Caravaggio painters by candlelight, while Saint Jude turns towards the viewer with a strong and intimidating gaze. Behind the canvas of San Tommaso an old inscription on a label, “Trontera”, comes with probability a trace to trace the original origin.

Dimensioni:
Altezza: 127 cm (50,01 in)Larghezza: 77 cm (30,32 in)
Tecnica:
Tela,Oil
Movimento e stile:
Barocco
Periodo:
1620-1629
Condizioni:
Località della galleria:
Tricase, IT
Numero di riferimento:
1stDibs: LU2645213230252

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