Sant’Antonio da Padova
| Reference: | S30090 |
| Author | Simone CANTARINI detto "Il Pesarese" |
| Year: | 1638 ca. |
| Measures: | 175 x 225 mm |
€2,400.00
| Reference: | S30090 |
| Author | Simone CANTARINI detto "Il Pesarese" |
| Year: | 1638 ca. |
| Measures: | 175 x 225 mm |
€2,400.00
Description
Etching, 1640 circa, without signature and printing details.
Example in the rare first state of three, before the engraver' signature.
Paolo Bellini notes that as many as seven preparatory drawings of this engraving are known, number reduced by Αnna Μaria Ambrosini Massari.
“Nella descrizione data dal Malvasia negli Appunti inediti gli angeli e i serafini sono definiti "una gran quantità... che scherzano in varii modi e diversi iscorci tanto belli e ben intesi che più non si può desiderare". Ed è proprio la corona allegra di angeli uno dei motivi che ha reso questa invenzione incisoria tanto celebre e diffusa: una composizione di grazia e naturalezza vibranti e nuove che trapassano dalle prove grafiche, numerose e variate, all'incisione e alla redazione pittorica proveniente dalla chiesa di San Francesco a Cagli. Nell'elenco dei disegni correlati all'incisione, va espunto dal catalogo grafico di Cantarini quello del Museo del Castello Sforzesco di Milano (inv. 183; riprodotto in Bellini 1980, p. 115) e una serie di prove della Pinacoteca di Brera, slittate a seguaci dei modi dell'artista pesarese. […] Nel procedimento progettuale che porta alla definizione dell'immagine incisoria, un ruolo di " passaggio intermedio" è individuato da Emiliani (1959b, p. 31, n. 9) nel disegno inv. A 11 di Rio de Janeiro, e tale si può considerare anche un foglio del Tylers Museum di Harlem (inv. D35) mentre in più relazione con la variante del santo in piedi scelta nel dipinto, è l'altro disegno brasiliano A 14 (Ambrosini Massari 1995, pp. 104-106, nn. 52-53). [...] Emiliani dava notevole importanza ai due disegni degli Uffizi considerandoli i più terminati nei confronti della preparazione per la traduzione calcografica, rispetto alla quale danno indicazioni anche tecniche del metodo di lavoro dell'artista. […] E sul debito di invenzioni come questa del Cantarini per i seguaci come Flaminio Torri e Lorenzo Pasinelli si è già abbondantemente insistito. Sul modello dell'acquaforte si forma la tela della chiesa dell'Osservanza di Imola di Flaminio Torri, che nell'atelier del maestro, avrà potuto ragionare anche sugli altri studi su quel soggetto, probabilmente anche sui due disegni citati, oggi al Gabinetto dei Disegni e delle Stampe degli Uffizi. Così nelle opere del Pasinelli, non solo il più scontato soggetto omonimo della chiesa di San Giacomo a Vicenza ma anche l'intonazione affettiva di opere quali la Santa Caterina dei Vigri che adora il Bambino (Bologna, Santa Maria di Galliera). A Pasinelli va ascritto infine un foglio di Londra (British Museum, inv. 1895.9.15.890) precedentemente attribuito a Cantarini e che denota evidenti relazioni stilistiche con un altro della Fondazione Cini di Venezia (inv. 36.147) mentre per un altro disegno della stessa collezione (inv. 36.146) sono già stati espressi convincenti dubbi sull'autografia cantariniana (Benati 1991a, p. 147). Un contributo per la datazione dell'incisione viene da una copia nello stesso verso dell'acquaforte, copia C (Bellini) dove compare il 1640, che ovviamente si deve considerare come termine orientativo post quem non. Una fortuna immediata, dunque, con una copia eseguita da uno dei seguaci marchigiani, Domenico Peruzzini” (cfr. Αnna Μaria Ambrosini Massari, in Simone Cantarini detto il Pesarese 1612-1648, p. 336).
Simone Cantarini known as the Pesarese or Simone da Pesaro (Pesaro, April 1612 - Verona, 1648) was an Italian painter, Baroque in style and belonging to the Bolognese school. Scholar and follower of Guido Reni, Cantarini moved away from his master, after a sensational argument they had which determined his estrangement from the school and the master, although his style was always very close to Reni’s. From 1639 he is found in Pesaro and afterwards in Rome, where he came to know Carracci and his classicist style and Mola. Together with his pictorial production, his graphic outoput has to be mentioned, for this is what gained real fame to him. The production of his mature age gained, though Carracci and Mola, brightness and richness in tones. That is why his works are considered among the most successful of his time.
Magnificent work rich in shades, printed on contemporary laid paper with illegible watermark, trimmer to platemark and in excellent condition.
Beautiful example.
Bibliografia
Bartsch 25; Bellini 26 I/III; Αnna Μaria Ambrosini Massari, in Simone Cantarini detto il Pesarese 1612-1648, p. 336, III.20.
Simone CANTARINI detto "Il Pesarese" (Pesaro 1612 - Verona 1648)
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Simone Cantarini known as the Pesarese or Simone da Pesaro (Pesaro, April 1612 - Verona, 1648) was an Italian painter, Baroque in style and belonging to the Bolognese school. He was born in Pesaro in April 1612, at that time part of the Papal States, and was baptized the following April 12. His training followed various stages in the Marche region, including the guidance of the master Giovan Giacomo Pandolfi, as well as the influence in his early creative phase of the late Mannerist painting of the Marche region, the Caravaggio tendency of Orazio Gentileschi and Giovanni Francesco Guerrieri, and in a later artistic phase the influence of Barocci and Guido Reni. His education was not immune to naturalistic elements, which from 1640 onward were added to classical knowledge, transforming Cantarini into a "petit-maître" of high cultural and stylistic sensitivity.
His stays in Venice at the workshop of master Claudio Ridolfi and his four-year stay (1635-1639) in Bologna, at the workshop of Guido Reni, were fundamental to his improvement.
His most significant works were those related to the Bolognese period, suffice it to mention the Immaculate Conception and Saints, The Rest in Egypt, the Transfiguration and Loth with Daughters, all datable to the four-year Bolognese period. This was followed by a number of works made in Rome during his brief stay, including the Miracle of the Cripple and Salome Receiving the Head of the Baptist.
Around 1641 Cantarini stayed in Rome where he devoted himself mainly to ancient sculpture and the study of Raphael's works. Soon after Reni's death (1642), Cantarini returned to Bologna, where he produced works of high quality, such as the Adoration of the Magi, and was active in the last years of his life. Cantarini's death came suddenly, and in this regard historical reports appear discordant and uncertain: while according to some sources, he found death in Verona in 1648 at the hands of the Duke of Mantua because of a failed delivery of a work, according to others he was murdered by a Mantuan painter after a violent quarrel. Cantarini's painting was characterized by a distinctive style, from the accentuated search for pictorial effects, through the suggestive power of colors or images, to the graduated colors and innovative poses of the figures. Of considerable value and originality is the graphic production of etchings, which boasts about forty subjects (37 of those catalogued) sometimes taken from more successful pictorial pieces. A graphic production that attests to the Pesaro painter's initial interest in the etchings of Federico Barocci and Guido Reni, to whom he is strongly indebted, only to break free from them in the works of his maturity, with subjects and compositions that are characterized by a greater expressive autonomy and a marked quality of sign.
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Simone CANTARINI detto "Il Pesarese" (Pesaro 1612 - Verona 1648)
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Simone Cantarini known as the Pesarese or Simone da Pesaro (Pesaro, April 1612 - Verona, 1648) was an Italian painter, Baroque in style and belonging to the Bolognese school. He was born in Pesaro in April 1612, at that time part of the Papal States, and was baptized the following April 12. His training followed various stages in the Marche region, including the guidance of the master Giovan Giacomo Pandolfi, as well as the influence in his early creative phase of the late Mannerist painting of the Marche region, the Caravaggio tendency of Orazio Gentileschi and Giovanni Francesco Guerrieri, and in a later artistic phase the influence of Barocci and Guido Reni. His education was not immune to naturalistic elements, which from 1640 onward were added to classical knowledge, transforming Cantarini into a "petit-maître" of high cultural and stylistic sensitivity.
His stays in Venice at the workshop of master Claudio Ridolfi and his four-year stay (1635-1639) in Bologna, at the workshop of Guido Reni, were fundamental to his improvement.
His most significant works were those related to the Bolognese period, suffice it to mention the Immaculate Conception and Saints, The Rest in Egypt, the Transfiguration and Loth with Daughters, all datable to the four-year Bolognese period. This was followed by a number of works made in Rome during his brief stay, including the Miracle of the Cripple and Salome Receiving the Head of the Baptist.
Around 1641 Cantarini stayed in Rome where he devoted himself mainly to ancient sculpture and the study of Raphael's works. Soon after Reni's death (1642), Cantarini returned to Bologna, where he produced works of high quality, such as the Adoration of the Magi, and was active in the last years of his life. Cantarini's death came suddenly, and in this regard historical reports appear discordant and uncertain: while according to some sources, he found death in Verona in 1648 at the hands of the Duke of Mantua because of a failed delivery of a work, according to others he was murdered by a Mantuan painter after a violent quarrel. Cantarini's painting was characterized by a distinctive style, from the accentuated search for pictorial effects, through the suggestive power of colors or images, to the graduated colors and innovative poses of the figures. Of considerable value and originality is the graphic production of etchings, which boasts about forty subjects (37 of those catalogued) sometimes taken from more successful pictorial pieces. A graphic production that attests to the Pesaro painter's initial interest in the etchings of Federico Barocci and Guido Reni, to whom he is strongly indebted, only to break free from them in the works of his maturity, with subjects and compositions that are characterized by a greater expressive autonomy and a marked quality of sign.
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