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165:, but here they find the apex of realization for their quality and style. Unlike the two paintings of San Domenico Soriano, where the first sees a luministic effect dominated by the yellow color scheme, and the second by a red one, in this work, which is chronologically slightly later, there is a prevalence of the silvery gray hue, a detail also found in the immediately following works to this, like the
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Embittered by the incident, Preti handed his canvas to a nobleman who placed it in the family's private chapel, inside the church, today
Basilica, of Santa Maria dei Sette Dolori, in Naples, where it remained on view until 1974 (the nobleman affirmed that the painting could thus be "the school of
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in 1913 defined the work as a "masterpiece of an isolated figure", highlighting precisely the particular construction of the scene: "(...) I do not know a single figure where the construction created by the seventeenth century is expressed with greater clarity and success ".
157:. The pose of Saint Sebastian emphasizes the Pretian style of the figures taken foreshortened, in transversal projection, to give more momentum and depth to the composition, elements already adopted in previous works such as his
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young people who want to profit from a perfect drawing, and an excellent natural."). The same year the work was transferred, for security reasons, to the
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influence, depicts the saint tied to a pole and pierced by arrows, following the death sentence inflicted on him as a
Christian by emperor
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in Naples, during Preti first stay at the city. Following criticism and pressure from the artists of the
Neapolitan environment, above all
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240 cm × 169 cm (94 in × 67 in)
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St John the
Baptist Wearing the Red Tabard of the Order of St John
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259:Mattia Preti. Tra Roma, Napoli e Malta
521:Paintings in the Museo di Capodimonte
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261:. Naples, Electa, p. 148 (Italian)
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442:The Banquet of the Rich Glutton
223:"St Sebastian by PRETI, Mattia"
418:The Return of the Prodigal Son
378:The Return of the Prodigal Son
346:Christ and the Canaanite Woman
139:National Museum of Capodimonte
104:National Museum of Capodimonte
74:National Museum of Capodimonte
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149:The scene, which has a clear
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167:Return of the Prodigal Son
516:Paintings by Mattia Preti
410:Saint George on Horseback
386:Madonna of Constantinople
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169:, in the version of the
16:Painting by Mattia Preti
486:(possible first master)
450:The Death of Sophonisba
484:Battistello Caracciolo
426:The Banquet of Absalom
370:Saint John the Baptist
257:Nicola Spinosa (1999)
171:Royal Palace of Naples
120:San Sebastiano, Naples
362:Judith and Holofernes
163:San Giovanni Battista
102:, and is held in the
394:The Four Evangelists
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230:. Retrieved
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145:Description
123: [
505:Categories
232:26 October
207:26 October
184:References
155:Diocletian
94:, created
62:Dimensions
469:(c. 1688)
453:(c. 1670)
445:(c. 1665)
405:(c. 1657)
389:(c. 1656)
357:(c. 1653)
349:(c. 1650)
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306:Paintings
70:Location
477:Related
330:Vanitas
161:or his
114:History
49:c. 1657
461:(1671)
421:(1658)
413:(1658)
381:(1656)
227:Wga.hu
108:Naples
78:Naples
54:Medium
36:Artist
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106:, in
234:2018
209:2018
46:Year
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
