San Rocco
| Reference: | S42501 |
| Author | Paolo FARINATI |
| Year: | 1550 ca. |
| Measures: | 180 x 283 mm |
€2,250.00
| Reference: | S42501 |
| Author | Paolo FARINATI |
| Year: | 1550 ca. |
| Measures: | 180 x 283 mm |
€2,250.00
Description
Woodcut, circa 1550/60, without printing details.
Beautiful proof, printed on contemporary laid paper, with thin margins, in excellent condition.
Very rare woodcut representation of San Rocco, derived from a drawing by Paolo Farinati that Rudolph Weigel lists in the Cabinet Jabach's collection of drawings (see Die Werke der Maler in ihren Handzeichnungen. Beschreibendes Verzeichniss der in Kupfer gestochenen, lithographirten und photographirten Facsimiles von Originalzeichnungen grosser Meister. Gesammelt und herausgegeben von Rudolph Weigel. Leipzig, Rudolph Weigel. 1865.
Weigel also attributes the engraving to Farinati: "Bekanntdurch den Stich des Meisters, siehe Weigel's Kunstkatalog" (ibid. p. 216, no. 2468; translated, known through the master's work, see the art catalog - Rudolph Weigel, Kunstlager Catalog). Weigel was a Leipzig-based print dealer, publisher and collector, a descendant of the Weigel dynasty. He published a 'Kunstcatalog' beginning in the 1830s that served as a standard price list for earlier prints.
Another copy of the work - not the same one - came into our possession in 2003. The catalogue described the work as follows: "the woodcut, unknown to Bartsch and other repertories, was attributed in the past to Paolo Farinati. An ancient inscription on the back of the collection support reads Paolo Farinati legno sopra li suoi tratti, indicating that the work was probably carved by someone from a composition by Farinati himself. Another inscription reads stampa nominata Il Maestro della Chiocciola (print named Il Maestro della Chiocciola). Of this work they are known impressions executed in chiaroscuro (two blocks). Sheet of great rarity" (cf. Incisioni di Antichi Maestri - Old Master Prints, Antiquarius, Catalogue 21, n. VII).
Paolo Farinati (Verona, 1524 - 1606) was an Italian painter, engraver and architect of Mannerist style active mainly in the city of his birth, but also in Mantua and Venice. Son of a painter owner of his own workshop, his family may have had Florentine roots so as to assume that among his ancestors there was the Ghibelline Farinata degli Uberti, made famous by Dante in his Comedy. Contemporaneous and friend of the painter Paolo Veronese, according to Giorgio Vasari he was instructed in painting by his father and by the Veronese Niccolò Giolfino and, probably, by Antonio Badile and Domenico Brusasorci, although from a young age he adopted a personal style without these probable masters having left an unequivocal mark. He went to Mantua, his pictorial language was strongly influenced by the works of Giulio Romano.
Beautiful example of this very rare work.
Bibliografia
Rudolph Weigel, Kunstlager Catalog, n. 18578; Rudolph Weigel, Die Werke der Maler in ihren Handzeichnungen, Lipsia 1865, p. 216, n. 2468; S. Bifolco, Incisioni di Antichi Maestri - Old Master Prints, Antiquarius, Catalogo 21, n. VII.
Paolo FARINATI (Verona 1524 - 1606)
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Italian painter and draughtsman. He was the son of a painter, Giambattista, but probably trained in the workshop of Nicola Giolfino (Vasari). His earliest documented painting, St Martin and the Beggar (1552; Mantua Cathedral), was commissioned by Cardinal Ercole Gonzaga along with works by Battista dell’Angolo del Moro, Veronese and Domenico Brusasorci for Mantua Cathedral, newly restored by Giulio Romano. As is evident in his chiaroscuro and figure types, Farinati had absorbed certain Mannerist influences from the frescoes of scenes from the Life of the Virgin (1534) in the choir of Verona Cathedral, executed by Francesco Torbido to Giulio’s design. Giolfino’s eccentric style would also have encouraged Farinati to emphasize line over colour and to restrict his palette to rather opaque greys, browns, mauve and rust. His two-canvas Massacre of the Innocents (1556; Verona, S Maria in Organo) displays the muscular figures, sharp foreshortenings and posed attitudes of Mannerism and has a more polished finish than his earlier work. Its strong, plastic qualities are also evident in Christ Walking on the Water and the Supper of St Gregory (1558) in the choir of the same church. These characteristics are united with a more defined architectural space, derived from Veronese, in his Ecce homo (1562; Verona, Castelvecchio). In 1566 Farinati painted two frescoes—one of Elijah Ascending into Heaven, the other (damaged) of uncertain subject—on the walls flanking Veronese’s altarpiece in the Cappella Marogna, S Paolo, Verona. His use of somewhat brighter colours is probably due to the influence of Veronese. Farinati’s mythological and allegorical frescoes in the Palazzo Giuliari, Verona, were completed before he began his journal in 1573. Around 1575 he executed the cycle of canvases and frescoes depicting the Lives of SS Nazarius and Celsus in the choir of SS Nazaro e Celso, Verona. While his altarpiece of SS Francis and Nicholas (1588; Verona, S Paolo) is among the more colourful, his style did not change radically. His late works include the Miracle of the Loaves and Fishes (1603; Verona, S Giorgio in Braida). Drawings form a significant part of Farinati’s oeuvre, especially his numerous chiaroscuro drawings on tinted paper, which were often used as modelli (e.g. New York, Met.; Vienna, Albertina; Washington, DC, N.G.A.).
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Paolo FARINATI (Verona 1524 - 1606)
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Italian painter and draughtsman. He was the son of a painter, Giambattista, but probably trained in the workshop of Nicola Giolfino (Vasari). His earliest documented painting, St Martin and the Beggar (1552; Mantua Cathedral), was commissioned by Cardinal Ercole Gonzaga along with works by Battista dell’Angolo del Moro, Veronese and Domenico Brusasorci for Mantua Cathedral, newly restored by Giulio Romano. As is evident in his chiaroscuro and figure types, Farinati had absorbed certain Mannerist influences from the frescoes of scenes from the Life of the Virgin (1534) in the choir of Verona Cathedral, executed by Francesco Torbido to Giulio’s design. Giolfino’s eccentric style would also have encouraged Farinati to emphasize line over colour and to restrict his palette to rather opaque greys, browns, mauve and rust. His two-canvas Massacre of the Innocents (1556; Verona, S Maria in Organo) displays the muscular figures, sharp foreshortenings and posed attitudes of Mannerism and has a more polished finish than his earlier work. Its strong, plastic qualities are also evident in Christ Walking on the Water and the Supper of St Gregory (1558) in the choir of the same church. These characteristics are united with a more defined architectural space, derived from Veronese, in his Ecce homo (1562; Verona, Castelvecchio). In 1566 Farinati painted two frescoes—one of Elijah Ascending into Heaven, the other (damaged) of uncertain subject—on the walls flanking Veronese’s altarpiece in the Cappella Marogna, S Paolo, Verona. His use of somewhat brighter colours is probably due to the influence of Veronese. Farinati’s mythological and allegorical frescoes in the Palazzo Giuliari, Verona, were completed before he began his journal in 1573. Around 1575 he executed the cycle of canvases and frescoes depicting the Lives of SS Nazarius and Celsus in the choir of SS Nazaro e Celso, Verona. While his altarpiece of SS Francis and Nicholas (1588; Verona, S Paolo) is among the more colourful, his style did not change radically. His late works include the Miracle of the Loaves and Fishes (1603; Verona, S Giorgio in Braida). Drawings form a significant part of Farinati’s oeuvre, especially his numerous chiaroscuro drawings on tinted paper, which were often used as modelli (e.g. New York, Met.; Vienna, Albertina; Washington, DC, N.G.A.).
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