2010
Giannicola di Paolo, gen. Lo SmiccaChristus als Schmerzensmann
Beschreibung
Giannicola di Paolo, gen. Lo Smicca
Christus als Schmerzensmann
Öl auf Holz. 48 x 50,5 cm.
Provenienz
Europäische Privatsammlung.
Christus ist in halber Länge mit hellgrauer Haut dargestellt, wie er aus seinem Grab aufsteigt. Mit einem kräftigen roten Bart und lockigem Haar, das auf seine Schultern fällt, einem kreuzförmigen Heiligenschein und einer Dornenkrone, dem geneigten Kopf und dem Blut, das aus den offenen Wunden tropft, gibt der Maler sein Leiden wieder. Obwohl er zweifellos tot ist, geht von seiner Figur Energie aus; der Maler stellt den Augenblick unmittelbar nach der Kreuzigung und dem anschließenden Tod dar, aber die stehende Figur scheint im Begriff zu sein, wieder aufzuerstehen. Der Raum ist in Vorder-, Mittel- und Hintergrund klar gegliedert, und die zentrale Figur des Christus steht im Mittelpunkt der Erzählung wie auch der Komposition.
Professor Andrea de Marchi schrieb die vorliegende Tafel dem Schüler Peruginos, Giannicola di Paolo zu, der in seiner perugianischen Werkstatt tätig war. Giannicolas Typologie der Figuren und die Verengung von Raum, Perspektive und Schattierungen sind tief von Perugino beeinflusst, von seinen Idealen der Ausgewogenheit und Symmetrie. Das vorliegende Werk - seine realistische Darstellung von Christus, seinen Gesichtszügen und seiner Körperhaltung - ist stark von Peruginos Cristo in pietà (1493-1498) inspiriert, das zuvor in der Cappella des Palazzo dei Priori und jetzt in der Galleria Nazionale dell'Umbria zu sehen war. Weitere Vergleiche lassen sich mit Peruginos Schmerzensmann mit dem heiligen Johannes dem Evangelisten und heiligen Josef von Arimathäa (1470-1490) anstellen, der zuvor in der Chiesa di San Pier Maggiore in Florenz und jetzt in der Sammlung Cassa di Risparmio der Stadt zu finden ist.
Laut Vasari benutzte Perugino Kartons als Grundlage für seine Kompositionen. Ausgehend von den existierenden Modellen wiederholte der Künstler seine Motive, um den zahlreichen Aufträgen gerecht zu werden, die er erhielt. Catherina Higgitt schlug unter anderem vor, dass Giannicola Zugang zu Peruginos Modelli hatte, die er kopierte, um seine eigenen Zeichnungen anzufertigen. Dies würde die frappierenden Ähnlichkeiten mit den oben erwähnten Werken Peruginos erklären.
Die vorliegende Tafel könnte um 1520 datiert werden: zu dieser Zeit arbeitete Giannicola di Paolo noch unter dem Einfluss seines Meisters, sein Stil hatte sich jedoch weiterentwickelt und nahm einige der Einflüsse Raffaels und der Hochrenaissance auf. Das Bild lässt sich sehr gut mit der 1516 für das Collegio del Cambio in Perugia geschaffenen Taufe Christi vergleichen und lässt sich leicht in eine stilistische Parabel zwischen dem Altarbild von Ognissanti (1506) und der Anbetung der Heiligen Drei Könige (späte erste Hälfte des 16. Jahrhunderts) einfügen, die sich heute im Louvre befindet.
Giannicola di Paolo, called Lo Smicca
Christ as the Man of Sorrows
Oil on panel. 48 x 50.5 cm.
Provenance
Continental private collection.
Christ is depicted half-length, with pale grey skin, rising from his tomb. With a red beard and curly hair falling down on to his shoulders, a cruciform halo and a crown of thorns, the head leaning to one side and blood dripping from the open wounds, the painter has graphically rendered Christ's suffering. Although He is unquestionably dead, energy emanates from the figure; the painter has depicted the moment just after the Crucifixion and subsequent death, but the standing figure seems almost about to be resurrected. The work is clearly divided into a foreground, middle ground and background, with the central figure of Christ forming the focal point of both the composition and the narrative.
Professor Andrea de Marchi attributes the present panel to a pupiö of Perugino, Giannicola di Paolo, active in his Perugian workshop. Giannicola´s typology of the figures, the constriction of space, use of perspective and the colour palette are deeply influenced by Perugino's ideals of balance and symmetry. The present work - especially its realistic representation of Christ, his facial features and posture - is much inspired by Perugino's Cristo in pietà (1493 -1498), previously in the Cappella of the Palazzo dei Priori and now in the Galleria Nazionale dell'Umbria. Other comparisons can be made with Perugino's Man of Sorrows with Saint John the Evangelist and Saint Joseph of Arimathea (1470-1490), previously in the Church of San Pier Maggiore in Florence and now in the Collection of the Cassa di Risparmio in the same city.
According to Vasari, Perugino made use of cartoons as a basis for his compositions. Starting from the existing models, the artist repeated his motifs in order to carry out the great number of commissions he received. Catherina Higgitt, amongst others, has suggested that Giannicola had access to Perugino's modelli, which he copied to make his own drawings. This would explain the striking similarities to the abovementioned works by Perugino. The present panel is thought to date to around 1520. At that time, Giannicola di Paolo was still working under the influence of his master, but his style had evolved and absorbed some of the influences of Raphael and the High Renaissance. The picture compares very closely to the Baptism of Christ created in 1516 for the Collegio del Cambio in Perugia and can be easily inserted into a stylistic timeline between the Ognissanti Altarpiece (1506) and the Adoration of the Magi (latter first half of the 15th Century), now in the Louvre.
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Giannicola di Paolo, gen. Lo Smicca
Christus als Schmerzensmann
Öl auf Holz. 48 x 50,5 cm.
Provenienz
Europäische Privatsammlung.
Christus ist in halber Länge mit hellgrauer Haut dargestellt, wie er aus seinem Grab aufsteigt. Mit einem kräftigen roten Bart und lockigem Haar, das auf seine Schultern fällt, einem kreuzförmigen Heiligenschein und einer Dornenkrone, dem geneigten Kopf und dem Blut, das aus den offenen Wunden tropft, gibt der Maler sein Leiden wieder. Obwohl er zweifellos tot ist, geht von seiner Figur Energie aus; der Maler stellt den Augenblick unmittelbar nach der Kreuzigung und dem anschließenden Tod dar, aber die stehende Figur scheint im Begriff zu sein, wieder aufzuerstehen. Der Raum ist in Vorder-, Mittel- und Hintergrund klar gegliedert, und die zentrale Figur des Christus steht im Mittelpunkt der Erzählung wie auch der Komposition.
Professor Andrea de Marchi schrieb die vorliegende Tafel dem Schüler Peruginos, Giannicola di Paolo zu, der in seiner perugianischen Werkstatt tätig war. Giannicolas Typologie der Figuren und die Verengung von Raum, Perspektive und Schattierungen sind tief von Perugino beeinflusst, von seinen Idealen der Ausgewogenheit und Symmetrie. Das vorliegende Werk - seine realistische Darstellung von Christus, seinen Gesichtszügen und seiner Körperhaltung - ist stark von Peruginos Cristo in pietà (1493-1498) inspiriert, das zuvor in der Cappella des Palazzo dei Priori und jetzt in der Galleria Nazionale dell'Umbria zu sehen war. Weitere Vergleiche lassen sich mit Peruginos Schmerzensmann mit dem heiligen Johannes dem Evangelisten und heiligen Josef von Arimathäa (1470-1490) anstellen, der zuvor in der Chiesa di San Pier Maggiore in Florenz und jetzt in der Sammlung Cassa di Risparmio der Stadt zu finden ist.
Laut Vasari benutzte Perugino Kartons als Grundlage für seine Kompositionen. Ausgehend von den existierenden Modellen wiederholte der Künstler seine Motive, um den zahlreichen Aufträgen gerecht zu werden, die er erhielt. Catherina Higgitt schlug unter anderem vor, dass Giannicola Zugang zu Peruginos Modelli hatte, die er kopierte, um seine eigenen Zeichnungen anzufertigen. Dies würde die frappierenden Ähnlichkeiten mit den oben erwähnten Werken Peruginos erklären.
Die vorliegende Tafel könnte um 1520 datiert werden: zu dieser Zeit arbeitete Giannicola di Paolo noch unter dem Einfluss seines Meisters, sein Stil hatte sich jedoch weiterentwickelt und nahm einige der Einflüsse Raffaels und der Hochrenaissance auf. Das Bild lässt sich sehr gut mit der 1516 für das Collegio del Cambio in Perugia geschaffenen Taufe Christi vergleichen und lässt sich leicht in eine stilistische Parabel zwischen dem Altarbild von Ognissanti (1506) und der Anbetung der Heiligen Drei Könige (späte erste Hälfte des 16. Jahrhunderts) einfügen, die sich heute im Louvre befindet.
Giannicola di Paolo, called Lo Smicca
Christ as the Man of Sorrows
Oil on panel. 48 x 50.5 cm.
Provenance
Continental private collection.
Christ is depicted half-length, with pale grey skin, rising from his tomb. With a red beard and curly hair falling down on to his shoulders, a cruciform halo and a crown of thorns, the head leaning to one side and blood dripping from the open wounds, the painter has graphically rendered Christ's suffering. Although He is unquestionably dead, energy emanates from the figure; the painter has depicted the moment just after the Crucifixion and subsequent death, but the standing figure seems almost about to be resurrected. The work is clearly divided into a foreground, middle ground and background, with the central figure of Christ forming the focal point of both the composition and the narrative.
Professor Andrea de Marchi attributes the present panel to a pupiö of Perugino, Giannicola di Paolo, active in his Perugian workshop. Giannicola´s typology of the figures, the constriction of space, use of perspective and the colour palette are deeply influenced by Perugino's ideals of balance and symmetry. The present work - especially its realistic representation of Christ, his facial features and posture - is much inspired by Perugino's Cristo in pietà (1493 -1498), previously in the Cappella of the Palazzo dei Priori and now in the Galleria Nazionale dell'Umbria. Other comparisons can be made with Perugino's Man of Sorrows with Saint John the Evangelist and Saint Joseph of Arimathea (1470-1490), previously in the Church of San Pier Maggiore in Florence and now in the Collection of the Cassa di Risparmio in the same city.
According to Vasari, Perugino made use of cartoons as a basis for his compositions. Starting from the existing models, the artist repeated his motifs in order to carry out the great number of commissions he received. Catherina Higgitt, amongst others, has suggested that Giannicola had access to Perugino's modelli, which he copied to make his own drawings. This would explain the striking similarities to the abovementioned works by Perugino. The present panel is thought to date to around 1520. At that time, Giannicola di Paolo was still working under the influence of his master, but his style had evolved and absorbed some of the influences of Raphael and the High Renaissance. The picture compares very closely to the Baptism of Christ created in 1516 for the Collegio del Cambio in Perugia and can be easily inserted into a stylistic timeline between the Ognissanti Altarpiece (1506) and the Adoration of the Magi (latter first half of the 15th Century), now in the Louvre.
Alte Kunst / Old Masters
Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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