LOT DETAILS

Materials:

oil on canvas

Measurements:

60.24 in. (153.00 cm.) (height) by 49.61 in. (126.00 cm.) (width)

Condition:

framed

Literature:

P. Pagano, P. Pagano, Dipinti genovesi del XVII e XVIII secolo, Dipinti genovesi del XVII e XVIII secolo, Genoa 1973, Genoa 1973, pp. 2-3, pp. 2-3, no. 1;, no. 1;, P. Pagano/M. C. Galassi (eds.), P. Pagano/M. C. Galassi (eds.), La pittura del ‘600 a Genova, La pittura del ‘600 a Genova, Milan 1988, Milan 1988, no. 449, no. 449, We are grateful to Anna Orlando for confirming the attribution after inspection of the original and for her help in cataloguing the present painting (written communication)., We are grateful to Anna Orlando for confirming the attribution after inspection of the original and for her help in cataloguing the present painting (written communication)., This exceptional mature work by Giovanni Battista Paggi has been known to scholars since 1973, This exceptional mature work by Giovanni Battista Paggi has been known to scholars since 1973, ,when it was exhibited and published by Piero Pagano (see P. Pagano, ,when it was exhibited and published by Piero Pagano (see P. Pagano, Genoa 1973, Genoa 1973, cat. 1, cat. 1, pp. 2-3). Pagano published the painting again in the volume he co-authored with the art historian Maria Clelia Galassi in 1988 (see P. Pagano, pp. 2-3). Pagano published the painting again in the volume he co-authored with the art historian Maria Clelia Galassi in 1988 (see P. Pagano, M. C: Galassi, M. C: Galassi, La Pittura del ‘600 a Genova, La Pittura del ‘600 a Genova, Milan 1988, Milan 1988, n. 449). During the early 1980s the present painting entered the collection of Aldo Zerbone with whom it remained until 2017-18. His collection began to gain renown during the 1990s owing to Zerbone’s numerous loan;s to exhibitions (including the exhibition of Grechetto in 1990 and Genova nell’Età Barocca in 1992 for example): his collection was undoubtedly the most important grouping of Genoese baroque art assembled during the final years of the twentieth, n. 449). During the early 1980s the present painting entered the collection of Aldo Zerbone with whom it remained until 2017-18. His collection began to gain renown during the 1990s owing to Zerbone’s numerous loan;s to exhibitions (including the exhibition of Grechetto in 1990 and Genova nell’Età Barocca in 1992 for example): his collection was undoubtedly the most important grouping of Genoese baroque art assembled during the final years of the twentieth, and the early twenty first centuries., and the early twenty first centuries., Compared to other paintings by Giovanni Battista Paggi the present painting is distinguished by its great compositional complexity, Compared to other paintings by Giovanni Battista Paggi the present painting is distinguished by its great compositional complexity, the brilliance of the subject’s clothing and the extraordinary wealth of materials represented. It is a magisterial work among the artist’s masterpieces: here with great skill and a sense of balance the Genoese master unifies all the varied components of his art., the brilliance of the subject’s clothing and the extraordinary wealth of materials represented. It is a magisterial work among the artist’s masterpieces: here with great skill and a sense of balance the Genoese master unifies all the varied components of his art., Born into a noble family involved in commerce, Born into a noble family involved in commerce, Giovanni Battista Paggi pursued a career in painting against the wishes of his father, Giovanni Battista Paggi pursued a career in painting against the wishes of his father, who would have preferred him to become a merchant like himself. The artist’s first biographer, who would have preferred him to become a merchant like himself. The artist’s first biographer, Raffaele Soprani, Raffaele Soprani, recorded in 1674 that the artist’s earliest training was schooling in letters, recorded in 1674 that the artist’s earliest training was schooling in letters, mathematics and business, mathematics and business, he began studying painting for his own pleasure. According to tradition it was thanks to his meeting with Luca Cambiaso, he began studying painting for his own pleasure. According to tradition it was thanks to his meeting with Luca Cambiaso, and the encouragements he received from this master, and the encouragements he received from this master, that Paggi turned to pursue a career in art., that Paggi turned to pursue a career in art., Accused of premeditated murder in 1581, Accused of premeditated murder in 1581, Paggi was forced to flee Genoa. He found refuge in Florence where he was received by the Medici court and remained there until 1599. The numerous altarpieces he supplied to the churches of Florence, Paggi was forced to flee Genoa. He found refuge in Florence where he was received by the Medici court and remained there until 1599. The numerous altarpieces he supplied to the churches of Florence, Lucca, Lucca, Pistoia, Pistoia, Pisa and other minor towns document Paggi’s activity in Tuscany. His first certainly dated paintings belong to the 1590s. If his public works reveal a certain repetitive conventionality of composition, Pisa and other minor towns document Paggi’s activity in Tuscany. His first certainly dated paintings belong to the 1590s. If his public works reveal a certain repetitive conventionality of composition, it is in his easel paintings for private clients that Paggi demonstrated the full breadth and refinement of his talents. The complexity of his compositional arrangements built on multiple planes and centred on a convergence of diagonals, it is in his easel paintings for private clients that Paggi demonstrated the full breadth and refinement of his talents. The complexity of his compositional arrangements built on multiple planes and centred on a convergence of diagonals, enabled him to depict his figures with a sense of dynamism in their gestures and a play of reciprocal looks, enabled him to depict his figures with a sense of dynamism in their gestures and a play of reciprocal looks, while also attaining poses of great naturalness., while also attaining poses of great naturalness., The expression given to his subject’s features attains a grace and sweetness that recall the example of Cambiaso (see for example the Ester before Ahasuerus from the Suida Manning Collection in Austin), The expression given to his subject’s features attains a grace and sweetness that recall the example of Cambiaso (see for example the Ester before Ahasuerus from the Suida Manning Collection in Austin), as well as the influence of the refined painters he encountered in Florence. In the present painting, as well as the influence of the refined painters he encountered in Florence. In the present painting, the dynamic Paggi achieves between the Madonna and her Son, the dynamic Paggi achieves between the Madonna and her Son, and in turn between Christ and Saint Catherine is especially notable: a symphony of affection which is framed both compositionally and sentimentally by the youth who at lower left holds a segment of the Catherine wheel, and in turn between Christ and Saint Catherine is especially notable: a symphony of affection which is framed both compositionally and sentimentally by the youth who at lower left holds a segment of the Catherine wheel, alluding to the means of the Saint’s martyrdom, alluding to the means of the Saint’s martyrdom, and the angels in the upper right who spill onto the scene with great naturalness. They emerge from a cloud with a near ironic smile which attenuates their serious role as bearers of the Queen of Alexandria’s symbols of martyrdom and glory. She kneels before the Christ child, and the angels in the upper right who spill onto the scene with great naturalness. They emerge from a cloud with a near ironic smile which attenuates their serious role as bearers of the Queen of Alexandria’s symbols of martyrdom and glory. She kneels before the Christ child, her gaze downturned in humility, her gaze downturned in humility, as if to underline the contrast with her great status, as if to underline the contrast with her great status, indicated by the richness of her robes. The painter unsheathes his many talents in the truthful depiction of her dress: he is attentive to its fabrics – velvet, indicated by the richness of her robes. The painter unsheathes his many talents in the truthful depiction of her dress: he is attentive to its fabrics – velvet, satin and silk – enriched with the gems, satin and silk – enriched with the gems, pearls, pearls, silver and gold that adorn it. This display is not unusual for Paggi: on the one hand it can be justified thanks to his noble origins, silver and gold that adorn it. This display is not unusual for Paggi: on the one hand it can be justified thanks to his noble origins, and on the other, and on the other, it clarifies and explains the tremendous success he attained in his day amongst his private clients, it clarifies and explains the tremendous success he attained in his day amongst his private clients, to the extent that later his collectors would come from well beyond the borders of Liguria and Tuscany., to the extent that later his collectors would come from well beyond the borders of Liguria and Tuscany

Provenance:

with Piero Pagano, Genoa;, Aldo Zerbone collection, Genoa, until 2017;, art market;, where acquired by the present owner