Mico Spadaro (1610 - 1675), scuola di - Deposizione

\Artist: Mico Spadaro (1610 - 1675) , scuola di
Technique: olio su tela, cm. 31 x 41\Signature: Not signed\Dimensions: 40_5_51_cm
DOMENICO GARGIULLO, known as MICO SPADARO [School of] (Naples, 1610 - 1675) Deposition Oil on canvas, cm. 31 x 41 Frame size, cm. 40 x 51 x 5 approx. NOTES: Publication of the catalog of works from the Intermidiart collection. Unsigned work. Certificate of Lawful Origin. Work with antique frame (?) In chalked wood gilded with silver and mixture (defects) : The painting is in an excellent state of conservation, it depicts a scene from the Deposition with numerous perfectly represented figures. The present painting, in fact, represents the famous episode narrated by the Canonical Gospels during the Passion of Christ, at the precise moment of the Crucifixion - in the iconographic theme - also called Jesus nailed to the cross or Deposition. This representation was widespread starting from the Renaissance, even in isolated images intended for private devotion. As narrated in the Holy Scriptures (from the Gospel of St. John: 19, 17-24) : They therefore took Jesus who, carrying his own cross, left the city to go towards the place called of the Skull, Golgotha in Hebrew, where they crucified him and with him two others, one on each side; between Jesus. In the main scene, against the backdrop of a landscape of rocks, a muscular Jesus has just been nailed to the cross, while his equally brawny torturers (there are several) , striving bare-chested or at most dressed in simple tunics, two of which pull the ropes, while the others hold the wood to lift the cross. On one side is a scene of bodies, muscles and fatigue, arranged around the cross, and on the other side - lower left - compassion the Madonna, slender, with a waxy face, with an expression steeped in deep melancholy meditating inwardly. on her own pain, accompanied by St. John who tries to calm her, and by the Magdalene who is visibly distraught. The character of the work appears unequivocally southern and the illustrative typology suggests a dating to the first naturalism, where it clearly reflects the stylistic features of the Neapolitan school of the early seventeenth century. The canvas bears a collector's attribution and is confirmed - by a well-known Italian auction house - to the hand of Domenico Gargiullo, known as Micco Spadaro (Naples, 1610 - 1675) , here taken with caution due to the scarce information on the work, without prejudice that the general characteristics of the image, the colors and the typology of the face would seem pertinent to the manner of the Neapolitan master. Subjects. Indeed, they are painted in an elongated shape which is typical of Micco Spadaro's style. Considered among the best pupils of Aniello Falcone, Domenico Gargiulo known as Micco Spadaro, was one of the most important painters of the Neapolitan landscape genre of the seventeenth century, author of a vast production that also included religious paintings and portraits (see Sestieri-Duprà 1994) . Collaborator, from 1635 to 1647, in the figurative parts of Viviano Codazzi, a painter specialized in architecture and then of the German Johann Heinrich Schönfeld, the painter's fame is above all linked to his activity as an illustrator and chronicler of the Neapolitan history of the time: The revolt of Masianello, Piazza mercatello during the plague of 1656 (Naples, Museo di San Martino) , the Eruption of Vesuvius (Naples, private collection) . The painting in question is well done, of good executive quality and characterized by a drawing with a lively chromatism. The lines are highlighted by a vigorous design, with a rather marked play of light and dark. Observing the details carefully, one is amazed by the executive quality of this work of great charm, from which the vivacity of the colors emerges, with virtuous and vibrant brushstrokes at the same time. The accentuated descriptiveness distinguishes the paintings for the meticulousness of details, described with analytical and figurative mastery, so much so that they can be compared - to an in-depth study of attribution - to the hand of the artist or a skilled painter close to the master. The painting is embellished by a beautiful antique (?) frame in wood with a gilded cane and silver and mixture, an integral part of the work, both for artistic and economic value (about € 300/600) . With regard to its state of conservation, the canvas is in fairly fair general condition and the pictorial surface has a patina. There are several repaintings, taken from old restorations. All in all, there are no problems of a conservative nature and it does not seem to require further interventions. The canvas has been relined and the backing too. The measures are cm. 31 x 41. As regards the frame, however, it has a patina and there are small defects, such as drops of gold, and wear over time. The dimensions of the frame are cm. 40 x 51 x 5 approx. , (presence of defects) . Provenance: Coll. private Sicilian Publication: Unpublished; Myths and the Territory in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA general catalog of the paintings of the collection of the cycle “Myths and the territory”, Publisher Lab_04, Marsala, 2022. We also guarantee accurate packaging with bubble wrap / cardboard / polystyrene (packaging cost approximately € 50. 00) and tracked shipping (€ 50. 00 Italy) . For export, the work is subject to a request for a Certificate of Free Movement (European Community) or Export Certificate (Extra-Community Transport) , at the export office (Superintendence of the territory) with the times and costs incurred ( € 300 / € 800, all included: shipping, packing in wooden crate and particular exports) . The shipment may be delayed by a few days / week for logistical and administrative reasons.