2070
Antonio Domenico GabbianiDie Geburt der Jungfrau Maria
Beschreibung
Antonio Domenico Gabbiani
Die Geburt der Jungfrau Maria
Öl auf Leinwand. 145 x 203 cm.
Im Originalrahmen.
Gutachten
Francesca Baldassarri, 7.2.2014.
Provenienz
Europäische Privatsammlung.
Francesca Baldassarri beschreibt das uns vorliegende, bisher unveröffentlichte Gemälde als ein spätes Meisterwerk des Florentiner Malers Domenico Gabbiani. Sie datiert die Leinwand in die ersten Jahrzehnte des 18. Jahrhunderts.
Als Schützling der Medici-Familie fand Gabbiani Ruhm und Gunst bei der Florentiner Aristokratie, arbeitete für die Corsini, Gerini, Incontri, Orlandini, Riccardi, Ridolfi, Rinuccini und wurde oft mit der Dekoration der noblen Stadtpaläste beauftragt. Nach einer Lehre in der Werkstatt von Valerio Spada arbeitete Gabbiani unter Justus Sustermann und Vincenzo Dandini, später (1673) zog er nach Rom. Dort studierte er unter der Leitung von Ciro Ferri und Ercole Ferrata an der von Cosimo III. de' Medici gegründeten Palazzo-Madama-Akademie und wurde zu einem der führenden Mitglieder der Institution. In diesen Jahren traf er auch Benedetto Luti, seinen ehemaligen Schüler, und den gefeierten Carlo Maratta. Als er später nach Venedig reiste, schloss er seine Studien bei Sebastiano Bombelli ab und wurde ein geschickter Porträtmaler.
Zurück in Florenz erhält er 1685 seinen ersten wichtigen öffentlichen Auftrag: das Altarbild mit der Verherrlichung des hl. Franz de Sales für die Kirche Santi Apostoli, wo der Künstler noch einen starken Einfluss von Vincenzo Dandini zeigte, vermischt mit dem römisch-orthodoxen "Cortonismo" von Ciro Ferri. Seit Beginn des 18. Jahrhunderts entwickelte Gabbiani, den künstlerischen Vorlieben seines Mäzens Cosimo III. folgend, einen eleganten klassizistischen Stil, der sich durch einen hellen und leichten Pinselstrich in Richtung des beschwingten Settecento auszeichnet.
Das vorliegende Werk muss sicherlich in das späte Schaffen dieser Periode eingefügt werden: die Figuren sind harmonisch auf der Leinwand dargestellt, die Draperien klassisch wiedergegeben, die Farben gekonnt kontrapunktiert. Die zeichnerische Virtuosität spielt im vorliegenden Werk, wie im gesamten Oeuvre Gabbianis, eine zentrale Rolle. Wie der Kunsthistoriker Luigi Lanzi berichtet, galt Gabbiani als einer der geschicktesten Zeichner seiner Zeit. Zur Untermauerung der vorgeschlagenen Datierung vergleicht Baldassarri die Geburt der Jungfrau Maria mit der Darstellung im Tempel des Museo Civico von Pistoia, die 1719 ausgeführt wurde. Obwohl dokumentarische Beweise für das Stück fehlen, muss man annehmen, dass es von einer der oben erwähnten toskanischen Adelsfamilien in Auftrag gegeben wurde.
Wir danken Dr. Francesca Baldassarri, da dieser Katalogeintrag weitgehend auf ihrem Essay beruht.
Antonio Domenico Gabbiani
The Birth of the Virgin
Oil on canvas. 145 x 203 cm.
In the original frame.
Certificate
Francesca Baldassarri, 07.02.2014.
Provenance
Continental private collection.
Francesca Baldassarri describes this hitherto unpublished work as a mature masterpiece of the Florentine painter Domenico Gabbiani. The art historian dates the canvas to the first decades of the 18th Century. A protege of the Medici Family, Gabbiani found fame and favour amongst the Florentine aristocracy, working for the Corsini, Gerini, Incontri, Orlandini, Riccardi, Ridolfi, Rinuccini and recieving numerious commissions for the decoration of the noble's city palaces. Following an apprenticeship in the studio of Valerio Spada, Gabbiani worked under Justus Sustermann and Vincenzo Dandini, he later moved to Rome in 1673. There, under the supervision of Ciro Ferri and Ercole Ferrata, he studied at the Palazzo Madama Accademy, founded by Cosimo III de' Medici, becoming one of the leading and most praised members of the institution. In those years, he also met Benedetto Luti, his former pupil, and the highly celebrated Carlo Maratta. Later travelling to Venice, he completed his studies under Sebastiano Bombelli, becoming a skilled portrait painter.
Back in Florence, he obtained his first important public commission in 1685: The altarpiece of the Glory of Saint Francis de Sales for the Church of Santi Apostoli. There, the artist still strongly displayed the influence by Vincenzo Dandini mixed with the Roman orthodox “Cortonismo” of Ciro Ferri. From the beginning of the 18th century, following the artistic preferences of his principal patron Cosimo III, Gabbiani developed an elegant Neoclassical style characterized by a bright colour palette and light brushstrokes, leaning towards Settecento buoyancy.
The present work can certainly be grouped among the mature output of this period: The figures are harmonically displayed on the canvas, the draperies classically rendered, the colours skilfully balanced.
The artist's virtuosismo in drawing plays a central role in the present work, as in Gabbiani´s entire oeuvre. As reported by the Art Historian Luigi Lanzi, Gabbiani was considered amongst the most skilful draftsmen of his era. In support of the proposed date, Baldassarri compares the Birth of the Virgin with the Presentation to the Temple in the Pistoia Museo Civico, executed in 1719. Although documentary evidence for the piece is missing, it is thought to have been commissioned by one of the above mentioned aristocratic Tuscan families.
We are thankful to Dr Francesca Baldassarri, upon whose essay this catalogue entry is largely based.
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Antonio Domenico Gabbiani
Die Geburt der Jungfrau Maria
Öl auf Leinwand. 145 x 203 cm.
Im Originalrahmen.
Gutachten
Francesca Baldassarri, 7.2.2014.
Provenienz
Europäische Privatsammlung.
Francesca Baldassarri beschreibt das uns vorliegende, bisher unveröffentlichte Gemälde als ein spätes Meisterwerk des Florentiner Malers Domenico Gabbiani. Sie datiert die Leinwand in die ersten Jahrzehnte des 18. Jahrhunderts.
Als Schützling der Medici-Familie fand Gabbiani Ruhm und Gunst bei der Florentiner Aristokratie, arbeitete für die Corsini, Gerini, Incontri, Orlandini, Riccardi, Ridolfi, Rinuccini und wurde oft mit der Dekoration der noblen Stadtpaläste beauftragt. Nach einer Lehre in der Werkstatt von Valerio Spada arbeitete Gabbiani unter Justus Sustermann und Vincenzo Dandini, später (1673) zog er nach Rom. Dort studierte er unter der Leitung von Ciro Ferri und Ercole Ferrata an der von Cosimo III. de' Medici gegründeten Palazzo-Madama-Akademie und wurde zu einem der führenden Mitglieder der Institution. In diesen Jahren traf er auch Benedetto Luti, seinen ehemaligen Schüler, und den gefeierten Carlo Maratta. Als er später nach Venedig reiste, schloss er seine Studien bei Sebastiano Bombelli ab und wurde ein geschickter Porträtmaler.
Zurück in Florenz erhält er 1685 seinen ersten wichtigen öffentlichen Auftrag: das Altarbild mit der Verherrlichung des hl. Franz de Sales für die Kirche Santi Apostoli, wo der Künstler noch einen starken Einfluss von Vincenzo Dandini zeigte, vermischt mit dem römisch-orthodoxen "Cortonismo" von Ciro Ferri. Seit Beginn des 18. Jahrhunderts entwickelte Gabbiani, den künstlerischen Vorlieben seines Mäzens Cosimo III. folgend, einen eleganten klassizistischen Stil, der sich durch einen hellen und leichten Pinselstrich in Richtung des beschwingten Settecento auszeichnet.
Das vorliegende Werk muss sicherlich in das späte Schaffen dieser Periode eingefügt werden: die Figuren sind harmonisch auf der Leinwand dargestellt, die Draperien klassisch wiedergegeben, die Farben gekonnt kontrapunktiert. Die zeichnerische Virtuosität spielt im vorliegenden Werk, wie im gesamten Oeuvre Gabbianis, eine zentrale Rolle. Wie der Kunsthistoriker Luigi Lanzi berichtet, galt Gabbiani als einer der geschicktesten Zeichner seiner Zeit. Zur Untermauerung der vorgeschlagenen Datierung vergleicht Baldassarri die Geburt der Jungfrau Maria mit der Darstellung im Tempel des Museo Civico von Pistoia, die 1719 ausgeführt wurde. Obwohl dokumentarische Beweise für das Stück fehlen, muss man annehmen, dass es von einer der oben erwähnten toskanischen Adelsfamilien in Auftrag gegeben wurde.
Wir danken Dr. Francesca Baldassarri, da dieser Katalogeintrag weitgehend auf ihrem Essay beruht.
Antonio Domenico Gabbiani
The Birth of the Virgin
Oil on canvas. 145 x 203 cm.
In the original frame.
Certificate
Francesca Baldassarri, 07.02.2014.
Provenance
Continental private collection.
Francesca Baldassarri describes this hitherto unpublished work as a mature masterpiece of the Florentine painter Domenico Gabbiani. The art historian dates the canvas to the first decades of the 18th Century. A protege of the Medici Family, Gabbiani found fame and favour amongst the Florentine aristocracy, working for the Corsini, Gerini, Incontri, Orlandini, Riccardi, Ridolfi, Rinuccini and recieving numerious commissions for the decoration of the noble's city palaces. Following an apprenticeship in the studio of Valerio Spada, Gabbiani worked under Justus Sustermann and Vincenzo Dandini, he later moved to Rome in 1673. There, under the supervision of Ciro Ferri and Ercole Ferrata, he studied at the Palazzo Madama Accademy, founded by Cosimo III de' Medici, becoming one of the leading and most praised members of the institution. In those years, he also met Benedetto Luti, his former pupil, and the highly celebrated Carlo Maratta. Later travelling to Venice, he completed his studies under Sebastiano Bombelli, becoming a skilled portrait painter.
Back in Florence, he obtained his first important public commission in 1685: The altarpiece of the Glory of Saint Francis de Sales for the Church of Santi Apostoli. There, the artist still strongly displayed the influence by Vincenzo Dandini mixed with the Roman orthodox “Cortonismo” of Ciro Ferri. From the beginning of the 18th century, following the artistic preferences of his principal patron Cosimo III, Gabbiani developed an elegant Neoclassical style characterized by a bright colour palette and light brushstrokes, leaning towards Settecento buoyancy.
The present work can certainly be grouped among the mature output of this period: The figures are harmonically displayed on the canvas, the draperies classically rendered, the colours skilfully balanced.
The artist's virtuosismo in drawing plays a central role in the present work, as in Gabbiani´s entire oeuvre. As reported by the Art Historian Luigi Lanzi, Gabbiani was considered amongst the most skilful draftsmen of his era. In support of the proposed date, Baldassarri compares the Birth of the Virgin with the Presentation to the Temple in the Pistoia Museo Civico, executed in 1719. Although documentary evidence for the piece is missing, it is thought to have been commissioned by one of the above mentioned aristocratic Tuscan families.
We are thankful to Dr Francesca Baldassarri, upon whose essay this catalogue entry is largely based.
Alte Kunst / Old Masters
Auktionsdatum
Lose: 2000 - 2155
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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