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Orazio and
Artemisia Gentileschi - published to accompany the exhibition held at the Museo del Palazzo di Venezia, Rome, 15 October - 6 January 2002; the Metropolitan Museum of Art, New York, 14 February - 12 May 2002; the Saint Louis Art Museum, 15 June - 15 September
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Orazio and
Artemisia Gentileschi - published to accompany the exhibition held at the Museo del Palazzo di Venezia, Rome, 15 October - 6 January 2002; the Metropolitan Museum of Art, New York, 14 February - 12 May 2002; the Saint Louis Art Museum, 15 June - 15 September
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L'œuvre n'étant réapparue sur le marché de l'art qu'en 2012, elle n'est pas mentionnée dans l'analyse des tableaux du même titre (18 et 19, p. 101 à 107) dans le catalogué édité par le
Metropolitan Museum of Art en 2001.Voir l'affaire de présumés faux tableaux d'art
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on lapis lazuli (now in a private collection after only reappearing on the art market in 2012 and going unmentioned in the analysis of paintings of the same title in the 2001 catalogue published by the
Metropolitan Museum of Art).
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and author of the work's auction notice in 2016, alabaster was frequently used as a support in
Florentine School painting in the late 16th and early 17th centuries. The technique was rarely used by Orazio, though he did paint a
107:'s works in oil on copper. It shows Christ descending from the heavens surrounded by God the Father, the dove of the Holy Spirit and angels carrying the cross and crown of thorns, an iconography of the
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119:, architectural background, clouds and halos around Jesus and the dove. The stone's transparency added a light effect, though this is negated by the later slate mount.
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in Zurich on 16 March 2016. Its present owners then acquired it on 24 August 2016 and from 2019 to 2020 it was one of 75 works loaned from the Alana
Collection to the
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193:'s 1565 engraving of the same subject. The faces of the Virgin and the angels also draw on those in Gentileschi's own
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1600-1605, later mounted on slate. Produced in Rome for an unknown private commissioner, it is now in
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The work was recorded in a Swiss private collection in 1960 before being auctioned at
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The work's composition has similarities to
Gentileschi's mature masterworks
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At the time of the work its artist was still strongly linked to
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but was probably destroyed during the Second World War) and a
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La
Collection Alana - Chefs-d'œuvre de la peinture italienne
377:(in French). Bruxelles: Fonds Mercator. 2019. p. 197.
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La collection Alana. Chefs-d'œuvre de la peinture italienne
103:'s style, though in this work he was also influenced by
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Madonna
Presenting the Christ Child to Saint Francis
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412:"3106. Gentileschi, Orazio (schulerauktionen.ch)"
185:, whilst the two figures' poses draw on those in
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167:. The work was not published before 2019.
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139:on marble (which was formerly in the
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28:(c. 1600-1605) by Orazio Gentileschi
351:List of works by Orazio Gentileschi
48:is an oil on alabaster painting by
149:David Contemplating Goliath's Head
37:David Contemplating Goliath's Head
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312:St Francis Supported by an Angel
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205:St Francis Supported by an Angel
201:Turin City Museum of Ancient Art
699:Paintings by Orazio Gentileschi
517:"Metropolitan Museum catalogue"
314:(c. 1607), Orazio Gentileschi,
291:(c. 1623), Orazio Gentileschi,
39:(c. 1612), Orazio Gentileschi.
16:Painting by Orazio Gentileschi
1:
704:Paintings of the Annunciation
511:(in French). 15 October 2019.
480:. 2001. p. 14, fig. 5.
332:(1607), Orazio Gentileschi,
163:for its exhibition entitled
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643:Joseph and Potiphar's Wife
474:Metropolitan Museum of Art
431:Metropolitan Museum of Art
316:Boston Museum of Fine Arts
243:Metropolitan Museum of Art
209:Boston Museum of Fine Arts
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587:Assumption of the Virgin
239:Giovanni Jacopo Caraglio
196:Assumption of the Virgin
191:Giovanni Jacopo Caraglio
141:Hessisches Landesmuseum
630:(Bilbao; c. 1628)
334:Santa Maria della Pace
217:Santa Maria della Pace
161:Musée Jacquemart-André
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40:
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714:Paintings in Delaware
661:Artemisia Gentileschi
627:Lot and His Daughters
603:Lot and His Daughters
507:L'exception italienne
478:Yale University Press
437:. 2001. p. XII.
435:Yale University Press
189:'s 1587 painting and
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635:The Finding of Moses
509:(La Gazette Drouot)"
505:"Anne Doridou-Heim,
472:. New York, London:
429:. New York, London:
646:(c. 1630–1632)
606:(Los Angeles; 1622)
598:(c. 1612–1615)
113:Counter-Reformation
555:Orazio Gentileschi
270:Capodimonte Museum
128:catalogue raisonné
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50:Orazio Gentileschi
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669:(major influence)
408:Riccardo Lattuada
330:Baptism of Christ
213:Baptism of Christ
126:, co-editor of a
124:Riccardo Lattuada
111:condemned by the
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414:. Lattuada 2016.
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293:Galleria Sabauda
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266:Scipione Pulzone
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187:Scipione Pulzone
179:(Darmstadt) and
157:Schuler Auctions
66:Newark, Delaware
62:Alana collection
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58:Álvaro Saieh
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45:Annunciation
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26:Annunciation
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590:(1605–1608)
223:Comparisons
693:Categories
667:Caravaggio
663:(daughter)
357:References
207:(c. 1607,
171:Influences
101:Caravaggio
678:Mannerism
571:Paintings
219:, Rome).
145:Darmstadt
132:Artemisia
117:prie-Dieu
345:See also
264:(1587),
247:New York
237:(1565),
83:(1599),
654:Related
458:ancien.
215:(1607,
177:Madonna
72:History
68:, USA.
52:, from
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274:Naples
211:) and
93:Berlin
619:Danaë
297:Turin
482:ISBN
470:2002
439:ISBN
427:2002
379:ISBN
338:Rome
203:),
143:in
64:in
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