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Giuseppe Cesari, known as Cavalier d’Arpino, The Dead Christ and Angels

$47,068.92List Price

About the Item

Giuseppe Cesari, known as Cavalier d’Arpino (Arpino 1568 – Rome 1640) The Dead Christ and Angels Oil on canvas, 92 x 70 cm With frame, 110 x 88 cm Expert opinion Prof. Alberto Crispo The compositional and stylistic references link this painting, depicting the Dead Christ supported by angels, to the work of the painter Giuseppe Cesari, known primarily as Cavalier d’Arpino (Arpino 1568 – Rome 1640). The unusual subject of Christ wept over by angels, although it does not appear in biblical texts, is part of the devotional tradition of the Pietà, in which the lifeless body of Christ is held upright by angels or mourners. This iconography is typical of the highly productive second decade of the 17th century, at the height of the Counter-Reformation. The poignant theme of Christ's death perfectly aligns, in its emotional power, with the goals of the post-Tridentine Church. Compared to Renaissance examples, the motif of the dead Christ supported by angels represents a new thematic approach that can be traced back to Taddeo Zuccaro and was destined to become very popular in the 17th century. It is no longer men but the angels of Heaven who weep and worship the Son of God, who was sacrificed for humanity; neither the Virgin nor the devout women nor Joseph of Arimathea appear here, as if only Heaven were worthy to mourn his death. In this work, the focal point of the composition is the bruised body of the Savior in the Pietà, still wrapped in the shroud and with his head completely limp, supported by two angels dressed in precious tunics; Of particular note are the angels’ brooches, adorned with precious gemstones, and the delicate embroidery on the sleeve of the angel on the left. One of the two kisses the Savior’s hand while the other looks up to the sky. As noted above, this painting is, as stated by Prof. Alberto Crispo, attributable to Giuseppe Cesari, known as Cavalier d’Arpino, one of the most esteemed and celebrated artists of 17th-century Rome. Born in Arpino in February 1568 to his father Munzio, who was also a painter, he moved to Rome with his mother in 1582. Under the guidance of Niccolo Circignani, his first teacher in Rome, he worked on the decoration of the Vatican Loggias, the Old Swiss Guard Hall, and the Stable Masters' Hall. It was in this context that the young Cesari, not yet a knight, distinguished himself for his creativity and skill, so much so that as early as 1583 he became a member of the Academy of San Luca, and in 1586 he was admitted to the Virtuosi del Pantheon. Following these prestigious commissions, he received numerous commissions, working on the Church of Trinità dei Monti, Palazzo Santori, and Sant'Anastasio dei Greci. In Naples, he was commissioned to decorate the Sancta Sanctorum of the Certosa di San Martino. With the accession of Clement VIII Aldobrandini to the papacy, Cesari was finally able to cement his professional success, becoming one of the best-known and most sought-after painters in Rome, especially for large-scale decorative projects. Overwhelmed by his numerous commissions, he was assisted by a workshop based in Torretta, considered one of the most prestigious in Rome; it was here that Michelangelo Merisi, known as Caravaggio, arrived in the spring of 1596, before the animosity between the two took hold. The year 1599 was when Cesari was elected prince of the Academy of Saint Luke and received the highly prestigious commission to paint the frescoes in the transept of San Giovanni in Laterano. Cesari’s economic and social standing had by then become firmly established, and so he was finally able to purchase a palace on Via del Corso, as well as have his own residence built in his native Arpino, parts of which still stand today; Among Cesari’s clients, in addition to the wealthy Roman aristocracy, were Emperor Rudolf II and the kings of Spain and France. In particular, the painting can be linked to several other works depicting the same subject, such as *The Dead Christ Supported by Angels* by M. Roy Fisher Fine Art Museum in New York, where one angel is depicted kissing the Savior’s hand while the face of the other—with eyes fixed toward the sky—appears to be literally copied from our painting. Additional references can be found in the copy held by the Cavallini Sgarbi Foundation and in a second version that has changed hands several times on the antiques market. Other stylistic references can also be found in the Deposition of Christ with Saints at the Cavallini Sgarbi Foundation or in the Arrest of Christ at San Carlo ai Catinari.

Dimensions:
Height: 36.23 in (92 cm)Width: 27.56 in (70 cm)Depth: 1.19 in (3 cm)
Style:
Other (Of the Period)
Materials and Techniques:
Canvas,Oiled
Place of Origin:
Italy
Period:
18th Century
Date of Manufacture:
XVII Century
Condition:
Wear consistent with age and use.
Seller Location:
Milan, IT
Reference Number:
1stDibs: LU5918250700772

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Giuseppe Cesari, known as Cavalier d’Arpino, The Dead Christ and Angels