1656 - 1746, attributed.
THE HOLY FAMILY WITH THE JOHN NAVE
Oil on canvas. Doubled.
100 x 93 cm.
The larger-format painting, probably created as an altarpiece, shows a clear compositional triangular structure. The Madonna with the Child occupies the centre of the picture, whereby a clear diagonal, also recognisable by different lighting, from bottom left to top right, along the shoulder of the child, excludes the darker picture field at the top left. In this field, St. Joseph appears, deliberately shaded, bearded, his gaze directed towards the child, his hands clasping a book. In a diagonal counter-movement, the upper body of St. John the Boy appears at the bottom right, dressed only in fur. The cross staff again follows the main diagonal of the whole composition, with a hanging narrow rotolus, with the usual inscription "Agnus Dei". The lighting is entirely focused on the mother and child, with both hands embracing the child, who, leaning back asleep, has laid his head on his mother's shoulder, covered by Mary's veil. The iconographic colours of Mary, red and blue, have been toned down here in the style of a light pink and a pigeon blue that is only delicately radiant. As always in Trevisani's pictures, the contours are softly drawn by sfumatoma painting, which was intended to come into its own especially in the profile of Mary.
The painter was born in Campodistria, the other side of the Adriatic Sea, and was the son of the architect Antonio Trevisani, from whom he received his first drawing lessons. He studied painting with Antonio Zanchi (1631-1722) in Venice, after which he went to Rome in 1678. A portrait portrait of Cardinal Pietro Ottoboni was the basis of his success, which led to him being recommended to Pope Clement XI by Cardinal Chigi. In Rome the influences of Guido Reni (1575-1642) and Carlo Maratti (1625-1713) continued to influence Trevisani's painting style. As a successful painter he received numerous commissions for several churches and courts throughout Europe. In 1712 he became a member of the Accademia dell'Arcadia. In 1719 he created one of his main works, the "Stigmatisation of St. Francis", an important late work is the "Miracle of St. Anthony" in the Venetian church San Rocco, painted in 1733.
This painting, executed in high quality, was already sold at an auction in New York about a decade ago, when a work by Francesco Trevisani was auctioned, at that time with the provenance reference to Abbey Art Gallerys in Pittsburgh. A corresponding gallery sticker can be found on the back of the stretcher frame. In addition, the picture's subject also appeared in a similar depiction at an auction at Hampel, where the far smaller depiction varied in that the child's head is inclined towards the mother. (1240474) (11)
1656 - 1746, attributed
THE HOLY FAMILY WITH SAINT JOHN THE BAPTIST
Oil on canvas Relined.
100 x 93 cm.
The larger format painting, probably created as an altarpiece, features a marked triangular composition with the Virgin and Child positioned at centre.
The high quality painting was sold at auction in New York over a decade ago as "by Francesco Trevisani", then with provenance reference to Abbey Art Galleries in Pittsburgh. Stretcher with corresponding gallery label. Furthermore a similar depiction of this subject was also offered for sale at Hampel, however, in a much smaller format and with the Christ Child's head leaning towards his mother.
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