LOT DETAILS

Materials:

oil on panel

Measurements:

19.69 in. (50.00 cm.) (height) by 13.78 in. (35.00 cm.) (width)

Condition:

framed

Literature:

G. Cirillo, G. Cirillo, Fra Cremona e Bologna: aspetti della pittura parmenese nel Cinquecento, Fra Cremona e Bologna: aspetti della pittura parmenese nel Cinquecento, in: Parma per l’arte, in: Parma per l’arte, Parma 2002, Parma 2002, p. 100, p. 100, no. 13;, no. 13;, G. Cirillo, G. Cirillo, Dipinti e disegni del Cinquecento parmense nelle collezioni private, Dipinti e disegni del Cinquecento parmense nelle collezioni private, exhibiton catalogue, exhibiton catalogue, Parma, Parma, 2008, 2008, pp. 53-54, pp. 53-54, no. 12;, no. 12;, E. Negro, E. Negro, Girolamo Mazzola Bedoli, Girolamo Mazzola Bedoli, Sacra famiglia, Sacra famiglia, in: On the road 2011, in: On the road 2011, exhibition catalogue, exhibition catalogue, Berceto 2011;, Berceto 2011;, M. Lucco, M. Lucco, Nel silenzio della Notte Santa, Nel silenzio della Notte Santa, Girolamo Mazzola Bedoli, Girolamo Mazzola Bedoli, Matteo dei Pitocchi, Matteo dei Pitocchi, Giovanni Odazzi al Museo Uomo Ambiente, Giovanni Odazzi al Museo Uomo Ambiente, exhibition catalogue, exhibition catalogue, Parma 2012, Parma 2012, ,The present painting is one of the latest additions to the catalogue of Girolamo Mazzola Bedoli. A drawing executed by Parmigianino depicting the Nativity inspired the composition (Devonshire collection, ,The present painting is one of the latest additions to the catalogue of Girolamo Mazzola Bedoli. A drawing executed by Parmigianino depicting the Nativity inspired the composition (Devonshire collection, no. 804; see A. Ghidiglia Quintavalle, no. 804; see A. Ghidiglia Quintavalle, Parmigianino. Disegni, Parmigianino. Disegni, Florence 1971, Florence 1971, fig. XXXI, fig. XXXI, note XXXI). Girolamo studied Parmigianino’s idea and frequently reworked his model. Bedoli’s composition, note XXXI). Girolamo studied Parmigianino’s idea and frequently reworked his model. Bedoli’s composition, executed as a counterpart, executed as a counterpart, can be compared with other small-scale panels such as the Nativity Fondazione Cini, can be compared with other small-scale panels such as the Nativity Fondazione Cini, ,Venice (inv. 6352; see M. Di Giampaolo, ,Venice (inv. 6352; see M. Di Giampaolo, Florence 1997, Florence 1997, pp. 114-115, pp. 114-115, fig. 1, fig. 1, no. 1), no. 1), ,in which the figures are placed in front of a colonnade. There is also a strong resemblance between the present painting and the Holy Family with Saint John the Baptist and angels in the Accademia di Belle Arti of Naples (inv. 599; see M. Di Giampaolo, ,in which the figures are placed in front of a colonnade. There is also a strong resemblance between the present painting and the Holy Family with Saint John the Baptist and angels in the Accademia di Belle Arti of Naples (inv. 599; see M. Di Giampaolo, p. 115, p. 115, no. 2, no. 2, fig. 2), fig. 2), depicting a lush vegetation to which three angels have been added. Furthermore many similarities can be seen between the present painting and the Holy Family and Saint Francis, depicting a lush vegetation to which three angels have been added. Furthermore many similarities can be seen between the present painting and the Holy Family and Saint Francis, ,Saint Anthony and Saint John the Baptist in the Museo Nazionale di Capodimonte in Naples (inv. 923; see M. Di Giampaolo, ,Saint Anthony and Saint John the Baptist in the Museo Nazionale di Capodimonte in Naples (inv. 923; see M. Di Giampaolo, p. 117, p. 117, no. 5, no. 5, fig. 5). Compared to the Holy Family at Wilton House, fig. 5). Compared to the Holy Family at Wilton House, ,in the Earl of Pembroke collection (see: M. Di Giampaolo, ,in the Earl of Pembroke collection (see: M. Di Giampaolo, no. 55, no. 55, fig. 55), fig. 55), the present panel reveals the same fluid brushstrokes, the present panel reveals the same fluid brushstrokes, elongated figures, elongated figures, and use of monochrome hues which directly oppose warm colors. Furthermore, and use of monochrome hues which directly oppose warm colors. Furthermore, both paintings reveal comparably light touches of white., both paintings reveal comparably light touches of white., These works, These works, and consequently the present panel, and consequently the present panel, were executed before 1533, were executed before 1533, at the time when Bedoli painted the Pala della Concezione in an early period of his career. The group of paintings reveal Bedoli’s close affiliation and adaptation to Parmigiano’s manner of painting. This can be seen in the features of the figures, at the time when Bedoli painted the Pala della Concezione in an early period of his career. The group of paintings reveal Bedoli’s close affiliation and adaptation to Parmigiano’s manner of painting. This can be seen in the features of the figures, especially the Virgin, especially the Virgin, called 'a lingua di fiamma'. Regarding the subject of the present painting, called 'a lingua di fiamma'. Regarding the subject of the present painting, Mauro Lucco suggested an Adoration of the Christ Child instead of the Nativity, Mauro Lucco suggested an Adoration of the Christ Child instead of the Nativity, because the Child is able to sit up, because the Child is able to sit up, as the pentimento of the right leg reveals., as the pentimento of the right leg reveals., Girolamo Bedoli was the pupil of Pier Ilario and Michele Mazzola, Girolamo Bedoli was the pupil of Pier Ilario and Michele Mazzola, both uncles of Parmigianino. In 1529 he married the daughter of Pier Ilario, both uncles of Parmigianino. In 1529 he married the daughter of Pier Ilario, inheriting and running a workshop. Bedoli became the cousin in law of Parmigianino and decided to add the surname Mazzola to his own. After Parmigianino’s death in 1540, inheriting and running a workshop. Bedoli became the cousin in law of Parmigianino and decided to add the surname Mazzola to his own. After Parmigianino’s death in 1540, Bedoli became the most sought-after painter in Parma., Bedoli became the most sought-after painter in Parma.