Crocifissione. L'innalzamento della croce
dipinto
ca 1631 - ca 1650
Mazzoni Sebastiano (1611 Ca./ 1678)
1611 ca./ 1678
Dipinto a olio su tavola raffigurante l'Innalzamento della Croce
- OGGETTO dipinto
-
MATERIA E TECNICA
tavola/ pittura a olio
-
ATTRIBUZIONI
Mazzoni Sebastiano (1611 Ca./ 1678)
-
ALTRE ATTRIBUZIONI
Luca Giordano
- LOCALIZZAZIONE Venezia (VE)
- INDIRIZZO ITALIA, Veneto, VE, Venezia, Venezia (VE)
- NOTIZIE STORICO CRITICHE Già assegnato a Luca Giordano (cfr. iscrizioni), quando verosimilmente apparteneva a una collezione privata inglese, il dipinto è stato attribuito a Sebastiano Mazzoni (Sotheby’s, New York, 17 ottobre 1997, lotto 150). Dapprima considerato opera della maturità dell’artista, per le affinità che lo legano al Sacrificio di Jefte di Kansas City e al Martirio di santo di Padova, è stato poi anticipato al periodo della giovinezza avanzata, tra quarto e quinto decennio (Benassai 2019, pp. 197-198). Per ulteriori confronti si rinvia alla scheda di Benassai 2019, pp. 197-198
- TIPOLOGIA SCHEDA Opere/oggetti d'arte
-
CONDIZIONE GIURIDICA
proprietà persona giuridica senza scopo di lucro
- CODICE DI CATALOGO NAZIONALE 0500726804
- NUMERO D'INVENTARIO F_T_05
- ENTE COMPETENTE PER LA TUTELA Soprintendenza Archeologia, belle arti e paesaggio per il Comune di Venezia e Laguna
- ENTE SCHEDATORE Soprintendenza Archeologia, belle arti e paesaggio per il Comune di Venezia e Laguna
- ISCRIZIONI a tergo al centro - Luca Giordano. Painted. History & Portraits. / This master was born at Naples in 1629 and at first was the disciple of/ Giuseppe de Ribera, called Spagnoletto but he studied afterwords under / Pietro da Cortano. Leaving the school of the latter he went to Lombardy / to examine the astonishing productions of the pencil of Correggio; and then / travelled to Venice to improve himself by studying the beautiful colouring/ and grand compositions of the best Venetian artistis. Here the works of/ Titian and Paolo Veronese principally engaged his attention from the/ former he learned the force of chiaroscuro, and from the latter the / grandeur and majesty of style which he united with the harmoniuos/ colouring of Cortono. He had a fruitful and fine imagination, a most surprising /readiness and freedom of hand, his tone of colouring is agreeable and his design / correct. His aknown circumstances of Giordano that when he was employed / at the Spanish court, the king showed him a picture painted by Giacomo/ Bassano for which he designed a companion. Giordano therefor painted one / so amazingly exact that the King appeared equally pleased and surprised/ for which, as also, on account of a number of other excellent paintings / the King conferred on him the honour of Knighhood and favoured him / with several honorary and valuable employments. In one of the/ galleries of the Marquis Peralta at Milan are be seen several heads / by Giordano they are extremely fine. The grand altar piece in the / church of the Ascension at Naples is accounted one of the best / performancies of Giordano. It represents the Battle of the Angels and the fall of Lucifer both figures being supported by the air. / The colouring of this picture is wonderfully beautiful, rich and / brilliant and has a most striking effect by the brightness of / the local colours. Here are likewise in the Palazzo Durazzo a/ dying Senecain the Bath, the Martyrodom of a Saint, and the / contest between Perseus and Demetrius; which justify all the honours / and riches bestowed by Monarchs on this great painter -
- LICENZA METADATI CC-BY 4.0
ALTRE OPERE DELLO STESSO AUTORE - Mazzoni Sebastiano (1611 Ca./ 1678)
ALTRE OPERE DELLA STESSA CITTA'
condividi
