Guido Reni (1575–1642), Scuola di - S. Maria Maddalena - NO RESERVE

GUIDO RENI [school of]
(Bologna, 1575 – 1642)
St. Mary Magdalene
Oil on canvas, cm. 63 x 49. 5
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SPECIAL NOTICE: This lot is offered without reserve price
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NOTE: Publication of the catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Origin. Work without frame:
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The painting depicts a very widespread iconographic subject starting from the Counter-Reformation era, which reflects the Church's desire to promote devotion to the sacrament of Confession. In the painting, Saint Mary Magdalene is represented with long blonde hair loose and covered only by a light cloth, surrounded by a nimbus of golden light. His intense devotion to Jesus Crucified is evident in the expression of his face, with his gaze turned upwards and his mouth in the act of praying. The saint's face and bust are rendered softly and defined by a soft contour line, while the drapery of her robe is virtuous, delicate and carefully arranged, despite some damage caused by previous restorations.
The posture and gestures of the Saint are similar to those represented in the works of Guido Reni's school, suggesting that the painting was created by a master active in Bologna in the second half of the seventeenth century, influenced by the idealized vision of reality typical of Reni's style. The canvas presents a clear and precious chromatic tone, with metallic reflections, typical of the works of Reni's late production, with a pearly complexion and light contrasts that give depth to the figure of the Saint. The use of particular colors with metallic reflections, such as the ocher of the complexion and dress of the Magdalene, suggests a strong influence of the teachings of the southern master of Reni (this type of pictorial technique, which gives the complexion and fabrics a shiny and reflective appearance similar to that of metals, was characteristic of the school of Reni and his followers) . In particular, Guido Reni and his circle were known for their ability to create rich, vibrant color effects, which gave paintings a sense of luminosity and three-dimensionality. The skilful use of ocher and other metallic colors allowed them to obtain a realistic rendering of materials and surfaces, thus helping to emphasize the beauty and richness of the subjects portrayed. Therefore, this observation indicates a close connection with the teachings and style of the masters of Reni's school, giving the work an elegance and refinement typical of that artistic tradition.
Furthermore, the work reveals Caravaggesque characteristics, typical of the artist's mature phase, when he was able to masterfully blend Reni's influences with more naturalistic and intense elements. The compositional and coloristic mastery of the painting suggests that the artist was a pupil or imitator of Reni, such as Giacomo Sementi, although it is necessary to proceed with caution in the attribution of the work.
In conclusion, the painting undoubtedly shows the talent of an artist of great skill, clearly influenced by the aesthetics and technique of Guido Reni. Its refined execution and its ability to capture the emotional intensity of the subject make it a significant example of seventeenth-century Italian baroque painting.
The painting is in fair general condition considering the age of the work. The painting surface has a patina, which is normal for a painting from that era. However, it is important to note that there are some scattered restorations, especially in the complexion under the neck and on some points of the portrayed figure's dress. With the use of Wood's light, it is possible to identify these restorations, which are interventions carried out over time to repair damage or losses on the pictorial surface. A subtle craquelé, i. e. small cracks on the painted surface, is also visible, which is typical of the natural aging of the painting. Furthermore, the original canvas has an old relining, which means it may have been mounted on a new support in the past. This may have resulted in the replacement of the original frame, which may now need to be fixed or replaced. In summary, the work shows signs of wear over time and past restoration interventions, but overall it is in acceptable condition considering its age. However, conservative intervention may be necessary to preserve and maintain the painting over time. The measurements of the canvas are cm. 63 x 49. 5. The painting is sold without a frame, although it is embellished with a valuable antique (?) frame in gilded wood (frame size, approx. 75 x 61 x 6) .
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ORIGIN: Coll. Private Sicilian
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PUBLICATION:
Unpublished;
THE MYTHS AND THE TERRITORY in Sicily with a thousand cultures. UNPUBLISHED PAINTINGS general catalog of paintings from the collection of the “Myths and the territory” cycle, Publisher Lab_04, Marsala, 2024.
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In the case of sales outside Italian territory, the buyer will have to wait for the export procedures to be processed.
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