LOT DETAILS

Materials:

oil on canvas

Measurements:

40.94 in. (104.00 cm.) (height) by 50.59 in. (128.50 cm.) (width)

Condition:

framed

Literature:

F. Ferrante, F. Ferrante, Giovan Bernardino Azzolino tra tardomanierismo e protocaravaggismo. Nuovi contributi e inediti, Giovan Bernardino Azzolino tra tardomanierismo e protocaravaggismo. Nuovi contributi e inediti, in: P. Leone de Castris (ed.), in: P. Leone de Castris (ed.), Scritti di storia dell’arte in onore di Raffaello Causa, Scritti di storia dell’arte in onore di Raffaello Causa, Naples 1988, Naples 1988, pp. 136-138, pp. 136-138, fig. 5;, fig. 5;, P. Leone de Castris, P. Leone de Castris, La pittura del Cinquecento nell’Italia meridionale, La pittura del Cinquecento nell’Italia meridionale, in: La pittura in Italia. Il Cinquecento, in: La pittura in Italia. Il Cinquecento, Milan 1987, Milan 1987, p. 462;, p. 462;, P. Leone de Castris, P. Leone de Castris, La pittura del Cinquecento nell’Italia meridionale, La pittura del Cinquecento nell’Italia meridionale, in: La pittura in Italia. Il Cinquecento, in: La pittura in Italia. Il Cinquecento, II, II, second edition Milan 1988, second edition Milan 1988, p. 506, p. 506, p. 632;, p. 632;, P. Leone de Castris, P. Leone de Castris, Pittura del Cinquecento a Napoli. 1573-1606 l’ultima maniera, Pittura del Cinquecento a Napoli. 1573-1606 l’ultima maniera, Naples 1991, Naples 1991, p. 311, p. 311, ill. p. 313;, ill. p. 313;, R. Causa, R. Causa, Due schede per Giovan Bernardino Azzolino, Due schede per Giovan Bernardino Azzolino, in: Paragone, in: Paragone, 28, 28, 1991, 1991, p. 78;, p. 78;, S. Schütze/T. Willette, S. Schütze/T. Willette, Massimo Stanzione. L’opera completa, Massimo Stanzione. L’opera completa, Naples 1992, Naples 1992, p. 13, p. 13, p. 15, p. 15, fig. 6, fig. 6, p. 18;, p. 18;, V. Farina, V. Farina, Giovan Bernardino Azzolino: il mancato soggiorno genovese e l’interesse per Ribera, Giovan Bernardino Azzolino: il mancato soggiorno genovese e l’interesse per Ribera, in: Prospettiva, in: Prospettiva, 1999, 1999, pp.160-161, pp.160-161, p. 163, p. 163, fig. 8 and p. 164, fig. 8 and p. 164, note 47;, note 47;, F. Abbate, F. Abbate, La cultura artistica nel regno meridionale tra Manierismo e Controriforma, La cultura artistica nel regno meridionale tra Manierismo e Controriforma, in: Storia dell´arte nell´Italia meridionale. Il cinquecento, in: Storia dell´arte nell´Italia meridionale. Il cinquecento, Rome, Rome, 2001, 2001, pp. 237-238;, pp. 237-238;, V. Pacelli, V. Pacelli, Del martirio di sant´Orsola di Caravaggio e i suoi copisti, Del martirio di sant´Orsola di Caravaggio e i suoi copisti, ,ovvero una renovatio iconografica (Azzolino, ,ovvero una renovatio iconografica (Azzolino, in: M. P. Ferrara (ed.), in: M. P. Ferrara (ed.), Per la storia dell´arte in Italia e in Europa. Studi in onore di Luisa Mortari, Per la storia dell´arte in Italia e in Europa. Studi in onore di Luisa Mortari, Rome, Rome, 2004, 2004, pp.190-191, pp.190-191, fig.9;, fig.9;, V. Pacelli, V. Pacelli, Il martirio di S. Orsola di Caravaggio. Riconsiderazioni sulle copie e su inediti tra Napoli e Genova nella prima metà del ´600, Il martirio di S. Orsola di Caravaggio. Riconsiderazioni sulle copie e su inediti tra Napoli e Genova nella prima metà del ´600, in: Studi di storia dell’arte, in: Studi di storia dell’arte, 16, 16, 2005, 2005, p. 165-167 and p. 174, p. 165-167 and p. 174, fig. 2;, fig. 2;, S. Causa, S. Causa, Il “pedale smorzatore” di Giovan Bernardo Azzolino, Il “pedale smorzatore” di Giovan Bernardo Azzolino, in: La strategia dell´attenzione. Pittori a Napoli nel primo Seicento, in: La strategia dell´attenzione. Pittori a Napoli nel primo Seicento, Naples, Naples, 2007, 2007, p. 49;, p. 49;, G. Porzio in: M. C. Terzaghi (ed.), G. Porzio in: M. C. Terzaghi (ed.), Tanzio da Varallo incontra Caravaggio. Pittura a Napoli nel primo Seicento, Tanzio da Varallo incontra Caravaggio. Pittura a Napoli nel primo Seicento, exhibition catalogue, exhibition catalogue, Milan 2014, Milan 2014, p. 144, p. 144, fig. 16.1, fig. 16.1, This canvas represents the Martyrdom of Saint Ursula, This canvas represents the Martyrdom of Saint Ursula, was a rare subject in seventeenth-century painting despite Caravaggio’s celebrated composition of 1610, was a rare subject in seventeenth-century painting despite Caravaggio’s celebrated composition of 1610, ,which is now conserved in Naples (Palazzo Zevallos Stigliano, ,which is now conserved in Naples (Palazzo Zevallos Stigliano, he was profoundly struck by the innovations introduced into Naples by Caravaggio at the close of the first decade of the seventeenth century. Azzolino attempted to adapt and reinterpret these innovations to his own formal language. The present painting is one of the earliest demonstrations of the influence of Caravaggio’s Saint Ursula on Azzolino., he was profoundly struck by the innovations introduced into Naples by Caravaggio at the close of the first decade of the seventeenth century. Azzolino attempted to adapt and reinterpret these innovations to his own formal language. The present painting is one of the earliest demonstrations of the influence of Caravaggio’s Saint Ursula on Azzolino., The young Saint Ursula is surrounded by guards and she is depicted drained of strength with her gaze turned heavenwards, The young Saint Ursula is surrounded by guards and she is depicted drained of strength with her gaze turned heavenwards, her eyes almost closed with the serene resignation of a martyr. Arrow wounds to her stomach, her eyes almost closed with the serene resignation of a martyr. Arrow wounds to her stomach, chest, chest, and neck flow with rivulets of blood that contrast sharply against the pale colour of her flesh. The handling of chiaroscuro and the manner in which the forms are modelled owe debts to the example of Caravaggio, and neck flow with rivulets of blood that contrast sharply against the pale colour of her flesh. The handling of chiaroscuro and the manner in which the forms are modelled owe debts to the example of Caravaggio, as does the concise manner of representing the scene, as does the concise manner of representing the scene, with few figures and without indulging too many descriptive details. However, with few figures and without indulging too many descriptive details. However, in accordance with counter-reformation cannons, in accordance with counter-reformation cannons, Azzolino does not choose to represent the most dramatic moment in the narrative of the maiden’s execution, Azzolino does not choose to represent the most dramatic moment in the narrative of the maiden’s execution, but rather the moment when she is overcome by death., but rather the moment when she is overcome by death., The painter was probably able to see Caravaggio’s painting while it was still in Naples in 1610 and before it was sent to Genoa by the patron, The painter was probably able to see Caravaggio’s painting while it was still in Naples in 1610 and before it was sent to Genoa by the patron, Marcantonio Doria, Marcantonio Doria, for whom Azzolino also worked at this time. Indeed, for whom Azzolino also worked at this time. Indeed, the artist established a close bond of friendship with Doria, the artist established a close bond of friendship with Doria, who owned forty-seven paintings by the Sicilian., who owned forty-seven paintings by the Sicilian., The present painting has been dated to the second decade of the seventeenth century, The present painting has been dated to the second decade of the seventeenth century, and can be compared to other paintings by Azzolino from the period, and can be compared to other paintings by Azzolino from the period, such as the Saint Apollonia in the church of San Giuseppe in Genoa, such as the Saint Apollonia in the church of San Giuseppe in Genoa, which depicts a maiden and guards that are very similar to those in our painting (see Ferrante in literature). Only Farina has dated the present Saint Ursula to the second half of the third decade, which depicts a maiden and guards that are very similar to those in our painting (see Ferrante in literature). Only Farina has dated the present Saint Ursula to the second half of the third decade, drawing attention to the influence of Ribera, drawing attention to the influence of Ribera, the artist’s brother-in-law from 1616 (see Farina in literature)., the artist’s brother-in-law from 1616 (see Farina in literature)., Two other versions of the present composition are known: one of vertical format which is conserved in the Pinacoteca Nazionale, Two other versions of the present composition are known: one of vertical format which is conserved in the Pinacoteca Nazionale, ,Siena (inv. IBS 60, ,Siena (inv. IBS 60, which is closer to the present composition, which is closer to the present composition, which is in a private collection and was recently rediscovered (see Porzio in literature)., which is in a private collection and was recently rediscovered (see Porzio in literature

Provenance:

probably Colonna family, early 20th Century;, Private collection, Naples;, Private collection, Rome