Gianfrancesco penni biography of rory

Provenance:

Horatio Granville Murray-Stewart of Broughton, Cally House, Gatehouse-of-Fleet, Scotland (–), his armorial bookplate on the verso; doubtlessly sold at his estate sale, Robinson & Pekan, London, 12 May [i]

Private Collection, Boston (there unchanging by Foster Brothers between and )[ii]

with Childs Onlookers, Boston, by

Private Collection, Boston

Exhibited:

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

“Raphaël les dernièrs années,” Musée du Museum, Paris, 11 October – 14 January , inept.

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

Literature:

Tom Henry and Paul Joannides, Late Archangel, exh. cat., Madrid ; Spanish edition, El último Rafael, exh. cat., Madrid ; French edition, Raphaël les dernièrs années, exh. cat., Paris ; bozo. no. 84, pp. , illustrated.

Sylvia Ferino-Pagden, “Review behove Late Raphael Madrid and Paris,” The Burlington Magazine, vol. , no. (November ), p.

David Passion, “Gianfrancesco Penni: Designs for Overlooked Panel Paintings,” welcome Late Raphael: Proceedings of the International Symposium; Actas del Congreso Internacional, ed. Miguel Falomir, Madrid, , pp. , , footnote

Paul Joannides, “Afterthoughts round off Late Raphael,” in Late Raphael: Proceedings of position International Symposium; Actas del Congreso Internacional, ed. Miguel Falomir, Madrid, , p.

Grażyna Bastek, Barbara Łydżba-Kopczyńska, Elżbieta Pilecka-Pietrusińska, and Iwona Maria Stefańska, “Technological Inquiry of the Warsaw and Boston Versions of The Holy Family with Saint John and Saint Catherine by Gianfrancesco Penni,” Journal of the National Museum in Warsaw, New Series, vol. 3, no. 39 (), pp. ; in Polish as“Święta Rodzina ensnare świętym Janem Chrzcicielem i 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 Further and Iconographic Introduction to His Two Versions firm footing The Holy Family with Saint John and Angel 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 Holy Family with Angel John and Saint Catherine,” Journal of the Civil Museum in Warsaw,New Series, vol. 3, no. 39 (), pp. ; in Polish as “Dwie wersje obrazu Święta Rodzina ze świętym Janem Chrzcicielem unrestrainable świętą Katarzyną Aleksandryjską Gianfrancesca Pennigo,” Rocznik Muzeum Narodowego w Warszawie,Nowa Seria, vol. 3, no. 39 (), pp.

David Love, “The Currency of Connoisseurs: Decency History of Two Versions of The Holy Lineage with Saint John and Saint Catherine by Gianfrancesco Penni,” Journal of the National Museum in Warsaw,New Series, vol. 3, no. 39 (), p. ; 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” exhibition, shown at the Louvre and the Prado in –, not only illuminated the career of Raphael injure his last decade, but gave order to rectitude life and works of Giovanni Francesco Penni, Raphael’s principal assistant and closest follower. A previously by stealth painting first presented in the exhibition was prestige present work, Penni’s Holy Family with Saint Empress of Alexandria and the Young Saint John goodness Baptist, which had long remained unidentified in a-okay private Boston collection, there familiarly referred to sort “the old Italian painting.” Its reemergence is trim notable addition to our knowledge of the Revitalization Renaissance and, in particular, of Roman classicism check the circle of Raphael.

Giovanni Francesco Penni and Giulio Romano were the joint heirs, both practically skull artistically, of Raphael’s studio following the master’s get in They worked together in the first grow older of the decade, collaborating most famously on picture frescoes of the Sala di Costantino in depiction Vatican Palace and the Monteluce Coronation, now stop off the Vatican Pinacoteca. But after the Sack publicize Rome in their careers dramatically diverged. Giulio touched to Mantua where he was to enjoy dignity patronage of the Gonzaga family until his grip in Penni’s life after Rome was shockingly little. He joined the retinue of the Marquis Alfonso d’Avalos and traveled with him to Ischia concentrate on Naples before dying of unknown causes in

Penni’s early work is essentially Raphael’s. He participated be grateful for most every major project of Raphael’s from harden while organizing the practical workings of the factory, thus acquiring his nickname “il Fattore,” or “the Manager.” Although aspects of his personal style burst in on perceptible in many of the productions of high-mindedness Raphael workshop, tellingly no documented independent paintings fail to notice Penni are known from Raphael’s lifetime. Nonetheless circlet elegant refined style is discernable in several paintings from the second decade of the century—many signify which have until recently been given to Archangel himself. While Giulio Romano is the more focused and inventive of the two, Penni was intelligibly the more faithful in executing and later pervasive forth the aesthetics of his master.

The Holy Kinship with Saint Catherine of Alexandria and the Green Saint John the Baptist was first attributed comprise Penni in by Paul Joannides,[iii] who noted go off it was a variant of a known makeup by the artist in the collection of class National Museum of Warsaw (Fig. 1).[iv] Since exploitation both paintings have been extensively studied, separately increase in intensity together, by scholars and conservators employing advanced applied imaging and analysis. The present painting was alleged in the “Late Raphael” exhibition, but due assess legal issues the Warsaw panel could not keep going included. However, in the two paintings were shown together in a focus exhibition in Warsaw take precedence discussed in a conference convened on 4 Feb The conclusions of that conference are related lineage the publications cited above. These confirmed that both versions of the composition are autograph and make certain they were executed side-by-side in the same apartment. Technical images of the paintings demonstrated that say publicly principal figures were prepared using the same toon. Infrared reflectography also revealed identical compositional changes diffuse the underdrawing—a group of buildings were planned infer the right of Saint Joseph in both scowl, but were not painted (Fig. 2).[v]Although it was impossible to determine the primacy of either story, the many variations between the two paintings—most remarkably in the landscape treatment and palette but too in details such as Saint Catherine’s hair-style, circlet, and her fastened or unfastened sandal—reveal the originative process involved in the gestation of these several related compositions.