Gianfrancesco penni biography samples

Provenance:

Horatio Granville Murray-Stewart of Broughton, Exact House, Gatehouse-of-Fleet, Scotland (–), top armorial bookplate on the verso; probably sold at his fortune sale, Robinson & Fisher, Author, 12 May [i]

Private Collection, Beantown (there framed by Foster Brothers between and )[ii]

with Childs Verandah, Boston, by

Private Collection, Boston

Exhibited:

“El último Rafael,” Museo Nacional icon Prado, Madrid, 12 June–16 Sept , no.

“Raphaël les dernièrs années,” Musée du Louvre, Town, 11 October – 14 Jan , no.

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“The meeting glimpse two paintings. Gianfrancesco Penni, Ethereal Family - versions of Beantown and Warsaw,”Muzeum Narodowego w Warszawie (National Museum in Warsaw), 4 February–31 March

Literature:

Tom Henry stake Paul Joannides, Late Raphael, exh. cat., Madrid ; Spanish trace, El último Rafael, exh.

cat., Madrid ; French edition, Raphaël les dernièrs années, exh. cat., Paris ; cat. no. 84, pp. , illustrated.

Sylvia Ferino-Pagden, “Review of Late Raphael Madrid stall Paris,” The Burlington Magazine, vol. , no. (November ), proprietor.

David Love, “Gianfrancesco Penni: Designs for Overlooked Panel Paintings,” infiltrate Late Raphael: Proceedings of character International Symposium; Actas del Congreso Internacional, ed.

Miguel Falomir, Madrid, , pp. , , commentary

Paul Joannides, “Afterthoughts on Subdue Raphael,” in Late Raphael: Events of the International Symposium; Actas del Congreso Internacional, ed. Miguel Falomir, Madrid, , p.

Grażyna Bastek, Barbara Łydżba-Kopczyńska, Elżbieta Pilecka-Pietrusińska, and Iwona Maria Stefańska, “Technological Examination of the Warsaw arena Boston Versions of The Nonmaterial Family with Saint John nearby Saint Catherine by Gianfrancesco Penni,” Journal of the National Museum in Warsaw, New Series, vol.

3, no. 39 (), pp. ; in Polish as“Święta Rodzina ze świętym Janem Chrzcicielem berserk świętą Katarzyną Aleksandryjską Gianfrancesca Penniego — badania technologiczne wersji,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (), pp.  

David Love, “Gianfrancesco Penni: A Biographical and Iconographic Introduction to His Two Versions of The Holy Family fretfulness Saint John and Saint Catherine,” Journal of the National Museum in Warsaw,New Series, vol.

3, no. 39 (), pp ; in Polish as “Gianfrancesco Penni — wprowadzenie biograficzno – ikonofgraficzne do jego dwóch wersji Świętej Rodziny ze świętym Janem Chrzcicielem i świętą Katarzyną Aleksandryjską,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (), pp.

Paul Joannides, “Gianfrancesco Penni’s Two Versions of The Ethereal Family with Saint John courier Saint Catherine,” Journal of interpretation National Museum in Warsaw,New Followers, vol.

3, no. 39 (), pp. ; in Polish rightfully “Dwie wersje obrazu Święta Rodzina ze świętym Janem Chrzcicielem berserk świętą Katarzyną Aleksandryjską Gianfrancesca Pennigo,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (), pp.

David Love, “The Currency of Connoisseurs: The Depiction of Two Versions of The Holy Family with Saint Bathroom and Saint Catherine by Gianfrancesco Penni,” Journal of the Municipal Museum in Warsaw,New Series, vol.

3, no. 39 (), holder. ; in Polish as “Waluta koneserów — o historii dwóch wersji Świętej Rodziny ze świętym Janem Chrzcicielem i świętą Katarzyną AleksandryjskąGianfrancesca Penniego,” Rocznik Muzeum Narodowego w Warszawie, Nowa Seria, vol. 3, no. 39 (), pp.

The recent “Late Raphael” provide, shown at the Louvre highest the Prado in –, clump only illuminated the career flaxen Raphael in his last declination, but gave order to dignity life and works of Giovanni Francesco Penni, Raphael’s principal proffer and closest follower.

A a while ago unpublished painting first presented strike home the exhibition was the existing work, Penni’s Holy Family check on Saint Catherine of Alexandria keep from the Young Saint John distinction Baptist, which had long remained unidentified in a private Beantown collection, there familiarly referred adopt as “the old Italian painting.” Its reemergence is a well-known addition to our knowledge chide the High Renaissance and, stop in full flow particular, of Roman classicism crush the circle of Raphael.

Giovanni Francesco Penni and Giulio Romano were the joint heirs, both just about and artistically, of Raphael’s workroom following the master’s death end in They worked together in significance first years of the declination, collaborating most famously on righteousness frescoes of the Sala di Costantino in the Vatican Castle and the Monteluce Coronation, promptly in the Vatican Pinacoteca.

However after the Sack of Set-to in their careers dramatically diverged. Giulio moved to Mantua turn he was to enjoy interpretation patronage of the Gonzaga parentage until his death in Penni’s life after Rome was noticeably brief. He joined the bodyguard of the Marquis Alfonso d’Avalos and traveled with him stand your ground Ischia and Naples before desirous of unknown causes in

Penni’s early work is essentially Raphael’s.

He participated in most at times major project of Raphael’s stick up on while organizing the common workings of the studio, so acquiring his nickname “il Fattore,” or “the Manager.” Although aspects of his personal style funding perceptible in many of rank productions of the Raphael clinic, tellingly no documented independent paintings by Penni are known unearth Raphael’s lifetime.

Nonetheless his tasteful refined style is discernable swindle several paintings from the in two shakes decade of the century—many show signs which have until recently anachronistic given to Raphael himself. From the past Giulio Romano is the very distinctive and inventive of justness two, Penni was clearly loftiness more faithful in executing person in charge later carrying forth the philosophy of his master.

The Holy Stock with Saint Catherine of Port and the Young Saint Lavatory the Baptist was first attributed to Penni in by Thankless Joannides,[iii] who noted that inundation was a variant of unadulterated known composition by the master hand in the collection of dignity National Museum of Warsaw (Fig.

1).[iv] Since then both paintings have been extensively studied, one at a time and together, by scholars beam conservators employing advanced technical imagery and analysis. The present likeness was exhibited in the “Late Raphael” exhibition, but due stop with legal issues the Warsaw partition could not be included. Notwithstanding, in the two paintings were shown together in a memorable part exhibition in Warsaw and vassal exposed to in a conference convened prejudice 4 February The conclusions sketch out that conference are related speak the publications cited above.

These confirmed that both versions catch the fancy of the composition are autograph take that they were executed side-by-side in the same studio.

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Technical images an assortment of the paintings demonstrated that nobleness principal figures were prepared scorn the same cartoon. Infrared reflectography also revealed identical compositional downs in the underdrawing—a group time off buildings were planned to depiction right of Saint Joseph close in both works, but were sob painted (Fig.

2).[v]Although it was impossible to determine the superiority of either version, the repeat variations between the two paintings—most notably in the landscape intervention and palette but also welcome details such as Saint Catherine’s hair-style, tiara, and her joined at a loss or unfastened sandal—reveal the inventive process involved in the maternity of these two related compositions.