LOT DETAILS

Materials:

oil on canvas

Measurements:

45.67 in. (116.00 cm.) (height) by 39.76 in. (101.00 cm.) (width)

Condition:

framed

Exhibited:

Centre Cultural Tecla Sala, L’Hospitalet de Llobregat, Jardín de eros, 9 July – 7 November 1999

Literature:

P. Zampetti, P. Zampetti, Pittori Bergamaschi dal XIII al XIX secolo. Il Seicento, Pittori Bergamaschi dal XIII al XIX secolo. Il Seicento, IV, IV, Bergamo 1987, Bergamo 1987, p. 583, p. 583, no. 156, no. 156, p. 627, p. 627, fig. 2;, fig. 2;, V. Combalía/J.-J. Lebel (eds.), V. Combalía/J.-J. Lebel (eds.), Jardín de eros, Jardín de eros, exhibition catalogue, exhibition catalogue, Barcelona 1999, Barcelona 1999, p. 159, p. 159, Venetian painting of the seventeenth century is a subject that has been only little considered, Venetian painting of the seventeenth century is a subject that has been only little considered, in between the Renaissance of Jacopo Bellini, in between the Renaissance of Jacopo Bellini, Titian and Tintoretto and the eighteenth century painters Giambattista Tiepolo, Titian and Tintoretto and the eighteenth century painters Giambattista Tiepolo, Antonio Canaletto and Pietro Longhi. Only in recent decades has the Venetian Baroque period become the focus of in-depth studies and monographic exhibitions, Antonio Canaletto and Pietro Longhi. Only in recent decades has the Venetian Baroque period become the focus of in-depth studies and monographic exhibitions, which have enabled scholars to both better delineate this period and isolate its protagonists. Prominent among them is the figure of Antonio Zanchi, which have enabled scholars to both better delineate this period and isolate its protagonists. Prominent among them is the figure of Antonio Zanchi, who was born in Este near Padua in 1631, who was born in Este near Padua in 1631, one year after the famous and tragic plague of 1630, one year after the famous and tragic plague of 1630, remembered as one of the most horrific epidemics in Italy., remembered as one of the most horrific epidemics in Italy., Having arrived in Venice during his early youth, Having arrived in Venice during his early youth, Antonio Zanchi became Matteo Ponzone’s student, Antonio Zanchi became Matteo Ponzone’s student, along with Andrea Celesti and Pietro Negri. The multifaceted offerings of contemporary Venice also complemented his artistic education. The influence is evident in his adoption of the so-called “tenebrous painting”, along with Andrea Celesti and Pietro Negri. The multifaceted offerings of contemporary Venice also complemented his artistic education. The influence is evident in his adoption of the so-called “tenebrous painting”, imported to Venice by Luca Giordano and the Genoese Giovan Battista Langetti. Zanchi quickly emerged as an enthusiastic follower of this movement adhering to it with conviction. The artist’s paintings up to the 1670s therefore display violent chiaroscuro contrasts, imported to Venice by Luca Giordano and the Genoese Giovan Battista Langetti. Zanchi quickly emerged as an enthusiastic follower of this movement adhering to it with conviction. The artist’s paintings up to the 1670s therefore display violent chiaroscuro contrasts, a lively naturalism and nocturnal toned colours. The compositions, a lively naturalism and nocturnal toned colours. The compositions, being rich in tension, being rich in tension, are characterised by zigzag lines accentuated by volumes and shadows., are characterised by zigzag lines accentuated by volumes and shadows., Zanchi’s observations of the Emilian Luca Ferrari’s oeuvre, Zanchi’s observations of the Emilian Luca Ferrari’s oeuvre, who spent his final days in Padua (1650-54), who spent his final days in Padua (1650-54), and probably Alessandro Varotari, and probably Alessandro Varotari, called Padovanino, called Padovanino, along with his interest in Paolo Veronese, along with his interest in Paolo Veronese, who enjoyed a certain revival in both Venice and Rome at the time, who enjoyed a certain revival in both Venice and Rome at the time, led to the more delicate and less contrasted painting style of his later works. The Martyrdom of Saint Daniel in the Basilica of Santa Giustina (executed in the second half of the eighth decade of the seventeenth century) was one of the first canvases by the artist which demonstrates this change. Here, led to the more delicate and less contrasted painting style of his later works. The Martyrdom of Saint Daniel in the Basilica of Santa Giustina (executed in the second half of the eighth decade of the seventeenth century) was one of the first canvases by the artist which demonstrates this change. Here, the colouring as well as the lines are strikingly softer, the colouring as well as the lines are strikingly softer, and the atmosphere appears less dark., and the atmosphere appears less dark., Mary Magdalene is here portrayed in three-quarter length and leaning towards her right in a seductive movement, Mary Magdalene is here portrayed in three-quarter length and leaning towards her right in a seductive movement, presenting herself bursting with earthy sensuality. The canonical attributes however - the skull, presenting herself bursting with earthy sensuality. The canonical attributes however - the skull, the crucifix, the crucifix, the hair shirt and the Holy Scriptures - remind us of her saintly status. The Magdalene’s smooth complexion with tones of warm pink is especially highlighted in certain areas; the tones radiating from her sun-reddened chest and cheeks, the hair shirt and the Holy Scriptures - remind us of her saintly status. The Magdalene’s smooth complexion with tones of warm pink is especially highlighted in certain areas; the tones radiating from her sun-reddened chest and cheeks, capturing the observer’s gaze and guiding one’s eyes gently along these parts. The delicacy of the face and hair, capturing the observer’s gaze and guiding one’s eyes gently along these parts. The delicacy of the face and hair, which frame the figure and embellish it with a golden brilliance, which frame the figure and embellish it with a golden brilliance, and the languor of her gaze, and the languor of her gaze, render Zanchi’s work a masterpiece of the late seventies of the seventeenth century. References to the Renaissance models of Paolo Veronese and Titian are evident in the present painting, render Zanchi’s work a masterpiece of the late seventies of the seventeenth century. References to the Renaissance models of Paolo Veronese and Titian are evident in the present painting, as well as a gradual detachment from the style of tenebrous painting in favour of an adherence to a delicate classicism., as well as a gradual detachment from the style of tenebrous painting in favour of an adherence to a delicate classicism

Provenance:

Private collection, Venice;, with Antichità Zanutto, Venice;, where acquired by the present owner