Circle of Giovanni Battista Piazzetta Ecce Homo
Circle of Giovanni Battista Piazzetta
Ecce Homo
oil on glass
unframed: 33.6 x 29.3 cm.; 13¼ x 11½ in.
framed: 50.9 x 45 cm.; 20 x 17¾ in.
Condition Report:
The piece of glass is in tact and stable, with only one hairline crack visible just left of Christ's head (when examining the picture's painted surface, i.e. the reverse). The paint surface is clean and the varnish is clear and even. A scattering of tiny losses are found throughout the composition, but in most cases these only measure approximately 0.1 x 0.1 cm. The largest instance measures approximately 0.8 x 0.5 cm. and can be noted on the far left of the composition, near to the margin. A scattering of retouchings are visible to the naked eye, primarily concentrated in Christ's hair, though these have been executed sensitively. Inspection under ultraviolet light confirms these as retouchings, while also revealing others in the background, on Christ's clothing towards the base of the crucifix, and on His lips. The largest of these measures approximately 5 x 1.5 cm. Overall, the painting is in good condition. It presents well and is ready to hang.
Catalogue Note:
This painting is closely related to an engraving by Marco Alvise Pitteri (1702–1786) after a design by Giovanni Battista Piazzetta (1682–1754).1 The most comparable known painting by Piazzetta, previously in the Guillion Mangilli collection, Venice, differs from the engraving in some minor details, as demonstrated most obviously by its omission of the crucifix.2 This likely suggests that the engraving and the present painting are instead both after another, now lost picture.3
1 M. Agnese Chiari Moretto Wiel (ed.), L'eredità di Piazzetta: volti e figure nell'incisione del Settecento, Venice 1996, p. 24, no. 24, reproduced.
2 A. Mariuz and R. Pallucchini, L'opera completa del Piazzetta, Milan 1982, p. 108, no. 136, reproduced.
3 Alternatively, Maria Agnese Chiari Moretto Wiel has proposed that the engraving could reproduce a drawing derived from the Guillion Mangilli painting.
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Circle of Giovanni Battista Piazzetta
Ecce Homo
oil on glass
unframed: 33.6 x 29.3 cm.; 13¼ x 11½ in.
framed: 50.9 x 45 cm.; 20 x 17¾ in.
Condition Report:
The piece of glass is in tact and stable, with only one hairline crack visible just left of Christ's head (when examining the picture's painted surface, i.e. the reverse). The paint surface is clean and the varnish is clear and even. A scattering of tiny losses are found throughout the composition, but in most cases these only measure approximately 0.1 x 0.1 cm. The largest instance measures approximately 0.8 x 0.5 cm. and can be noted on the far left of the composition, near to the margin. A scattering of retouchings are visible to the naked eye, primarily concentrated in Christ's hair, though these have been executed sensitively. Inspection under ultraviolet light confirms these as retouchings, while also revealing others in the background, on Christ's clothing towards the base of the crucifix, and on His lips. The largest of these measures approximately 5 x 1.5 cm. Overall, the painting is in good condition. It presents well and is ready to hang.
Catalogue Note:
This painting is closely related to an engraving by Marco Alvise Pitteri (1702–1786) after a design by Giovanni Battista Piazzetta (1682–1754).1 The most comparable known painting by Piazzetta, previously in the Guillion Mangilli collection, Venice, differs from the engraving in some minor details, as demonstrated most obviously by its omission of the crucifix.2 This likely suggests that the engraving and the present painting are instead both after another, now lost picture.3
1 M. Agnese Chiari Moretto Wiel (ed.), L'eredità di Piazzetta: volti e figure nell'incisione del Settecento, Venice 1996, p. 24, no. 24, reproduced.
2 A. Mariuz and R. Pallucchini, L'opera completa del Piazzetta, Milan 1982, p. 108, no. 136, reproduced.
3 Alternatively, Maria Agnese Chiari Moretto Wiel has proposed that the engraving could reproduce a drawing derived from the Guillion Mangilli painting.
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