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Beskrivning

ANTONIO ALLEGRI DA CORREGGIO (Correggio), efter: Kristus, olja på trä-pannå, 28.3 x 22.9 cm.

PROVENIENS
Familjen Banér, Sjöö slott, Uppland

Efter Correggios (1489-1534) kända målning "Head of Christ" i J. Paul Getty Museet i Malibu, Los Angeles med samma mått (pannå 28.6 x 23.5 cm.), inköpt 1994, vilken dateras av Professor David Ekserdian till c. 1530-35 (se fig).

Originalet fanns i en privat samling i Rom fram till 1600-talet då det vid en okänd tidpunkt såldes till en fransk familj i vars ägo den fanns kvar till 1831, då den såldes till en engelsk familj.

Det mjuka träslaget som den aktuella målningen är utförd på användas vanligtvis av italienska konstnärer. I Frankrike och norra Europa användes vanligtvis ek som underlag.
Detta pekar på att målningen är utförd I Italien innan originalet såldes till Frankrike. Inga andra kopior efter Correggios målning är kända.



ANTONIO ALLEGRI DA CORREGGIO, known as Correggio, after, 16th or 17th Century: Head of Christ, oil on softwood panel, 28.3 x 23 cm.

PROVENANCE
The Banér family, Sjöö, District of Uppland

After the celebrated picture "Head of Christ" by the Italian Renaissance painter Correggio (1489-1534), datied by David Eskerdian to c. 1530-34 in the J. Paul Getty Museum in Malibu, Los Angeles acquired in 1994 of the same size (panel 28.6 x 23.5 cm.) (see fig.). The original was in a private collection in Rome until the seventeenth Century when it was sold to France at an unknown date and where it remained until 1831 when it was sold to England. Softwood, the support on which the present picture is painted, was usually used as painting support by Italian 16th and 17th century painters, in France and Northern Europe, oak was usually preferred. This suggests that the present picture was painted in Italy prior to when the original was sold to France in the seventeenth Century. No other direct copies after Correggio´s picture are known, only a few deriviations.

Correggio was known for creating some of the most sumptuous religious paintings of the period. The Getty Museum considers this artwork as one of the masterpieces of painting held by the museum. Correggios´s painting was probably intended for private devotion. The frontal view adopted recalls the depiction of Christ´s face as it was miraculously imprinted on the veil of Saint Veronica, but instead of depicting the imprint of Christ´s face, Correggio paints Christ himself, looking out at the viewer. Veronica´s veil covers the background and wraps around Christ, whose purple robe is just visible beneath, an allusion to the mocking which he endured prior to his death: Roman soldiers stripped him of his clothes, dressed him in a purple cloak, placed a crown of thorns on his head, and mocked him as the King of the Jews. In the early 1520s, Correggio was particularly interested in the study of the characters of the sacred history. Christ has his lips slightly parted, as if he would like to speak to the viewer. Correggio´s bold reassessment of the theme filled the face of Christ an intense pathos. He looks at the viewers, as if to implore their mercy.

According to art historian John Sherman, this kind of depiction is a typical example of a "transitive work", i.e. a work that requires the emotional participation of the viewer and that can only be completed through being in the physical presence of the image.

Konditionsrapport

Auktionsnummer:

805585

Datum:

2020-09-13