Sebastiano Conca (1680-1764), (Bottega di) - Santa Cecilia
\Artist: Sebastiano Conca (1680-1764) , (Bottega di)
Technique: Oil on canvas\Signature: Not signed\Dimensions: 60_12_50_cm
Sebastiano Conca [Copy made in his workshop] (Gaeta, 1680 - Naples, 1764) Santa Cecilia Oil on oval canvas, 33. 5 x 27 cm. Dimensions with frame: about 50 x 36 x 5 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/26 Please note: Publication of the catalogue of works from the Intermidiart collection. With certificate of warranty and lawful origin. Online publication by the Neapolitan historian Achille della Ragione. Work with antique (?) golden frame (with flaws) . The painting depicts Saint Cecilia, who lived in Rome between the 2nd and 3rd centuries and was martyred for having professed her Christian faith. According to the Legenda Aurea, the saint sang praises to the Lord while she was being executed, but it is highly uncertain why Cecilia became the patron saint of music. In fact, a link between Cecilia and music is only documented from the late Middle Ages onwards. In relation to this subject, there is another version attributed to Sebastiano Conca, of which there is a photograph in the Fondazione Federico Zeri Photographic Archive, published in the Sotheby's London catalogue of 10 July 1974, no. 84. The Archive version differs from the painting here in that it is not inscribed within an oval frame and is smaller in size. Previously unknown and without any specific relationship with the large compositions executed by Sebastiano Conca for Roman churches or those sent beyond the borders of the Papal States, the small painting here represents a splendid example of the production for private use that constituted a minor but not insignificant aspect of the painter's activity, with the help of his workshop. The graceful classicism of the composition and the elegance of the pictorial conduct of the painting find significant and close parallels in Conca's corpus. The drawing structure of clear classicist derivation, the compositional scheme carried out according to the academic norm of the centre rhythm, the elegant finishing of the details all suggest that this painting belongs to the circle or workshop of the artist, without excluding - with some caution - a direct attribution to the master. We now want to provide the reader with some biographical data of Sebastiano Conca, a painter to whom an exhaustive exhibition was dedicated a few decades ago in his native Gaeta. Sebastiano Conca was born in Gaeta in 1680 and died in the same city in 1764. Also called "Il cavaliere", he was the eldest of ten brothers. His father Erasmo dedicated himself to commerce and the second son Don Nicolò was archdeacon of the cathedral of Gaeta. Sebastiano attended the Neapolitan school of Francesco Solimena for over 15 years. From 1706 he moved to Rome with his brother Giovanni, where he joined Carlo Maratta and carried out a profitable activity as a fresco painter and altar artist until after 1750. In contact with the latter, his exuberant artistic style became partially moderated. In Rome, under the patronage of Cardinal Ottoboni, he was introduced to Pope Clement XI, who assigned him the fresco depicting Jeremiah in the Basilica of San Giovanni in Laterano. For the painting he was rewarded by the pope with the title of knight and by the cardinal with a diamond cross. In 1710 he opened his own academy, the so-called Accademia del Nudo, which attracted many students from all over Europe, including Pompeo Batoni, the Sicilians Olivio Sozzi and Giuseppe Tresca and Carlo Maratta, and which served to spread his style throughout the continent. In 1729 he became part of the Accademia di San Luca and became its director from 1729 to 1731 and from 1739 to 1741. In August 1731, the painter was called to Siena to fresco the apse of the Church of the Santissima Annunziata, by the will of the rector of Santa Maria della Scala, Ugolino Billò. The work was finished in April 1732. With the "Probatica Piscina" (or "Piscina di Siloan") , Conca earned the widespread admiration of his contemporaries. In particular, the wide range of the work and the wise composition, faithful to the Gospel story and full of scrupulous details, were appreciated. He was later, among other things, in the service of the Savoy court, and worked at the oratory of San Filippo and the church of Santa Teresa in Turin. In 1739 he wrote a book titled Ammonimenti, containing moral and artistic precepts and dedicated to all young people who wanted to become painters. After his return to Naples in 1752, Conca moved from the classical experiences to the more grandiose canons of the late Baroque and Rococo and was inspired above all by the works of Luca Giordano. Thanks to the help of Vanvitelli, he received honours and assignments from Charles III of Bourbon and from the most powerful Neapolitan religious orders. His most demanding works of this last years have been destroyed, while numerous altarpieces from Naples remain, canvases sent to Sicily, the paintings executed for the Benedictines of Aversa (1761) and the Stories of San Francesco da Paola, carried out between 1762 and 1763 for the Friars Minor of the Sanctuary of Santa Maria di Pozzano in Castellammare. By royal decree he was elevated to the rank of nobleman in 1757. The reasons for his sensational success can be recognised in his great ability to mediate the different artistic components of the century: that grandiloquent and grandiose scenography, learned over the years with Solimena, and the more measured and composed reforming classicism of Maratta. Conca's ability was therefore to know how to measure himself both with tradition and with the cautious novelties of the moment, dosing and strengthening the different and multiple components of the late Baroque language from time to time. Among his best students is Gaetano Lapis, also known as il Carraccetto. Sebastiano's nephew, the Roman Tommaso Conca, also had a fair amount of fame. Sebastiano Conca left countless works, estimated at around 1,200 pieces. ( quoting Achille della Ragione, 2021) . The canvas is in fair condition. The pictorial surface has a patina. Some small scattered restorations, peeling and oxidation of the surface emerged under Wood’s lamp. In natural light, you can see a fine craquelure consistent with the painting’s age. The painting - of a good painterly hand - is very interesting both for its iconographic setting and for the application of colours, evidence of an artist with great interpretational quality. Oval canvas size: 33. 5 x 27 cm. The painting comes with a beautiful gilded frame (dimensions: approx. 50 x 36 x 5 cm, with flaws) . Origin: private collection. Publication: \t. Unpublished; \t. I miti e il territorio nella Sicilia dalle mille culture. INEDITA QUADRERIA catalogo generale dei dipinti della collezione del ciclo “I Miti e il territorio”, 2nd edition, Lab_04, Marsala, 2022. We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €100. 00) and tracked shipping (€100. 00 Italy) For export, the work is subject to a new request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Soprintendenza del Territorio) with additional times and costs (€300/€500, all inclusive: shipping, packaging, and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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\Artist: Sebastiano Conca (1680-1764) , (Bottega di)
Technique: Oil on canvas\Signature: Not signed\Dimensions: 60_12_50_cm
Sebastiano Conca [Copy made in his workshop] (Gaeta, 1680 - Naples, 1764) Santa Cecilia Oil on oval canvas, 33. 5 x 27 cm. Dimensions with frame: about 50 x 36 x 5 cm. BROWSE CATALOGUE (copy link) : https: //www. sfogliami. it/fl/241189/3tv3uqgjenr7xrk8cdpd6ttj35dy417#page/26 Please note: Publication of the catalogue of works from the Intermidiart collection. With certificate of warranty and lawful origin. Online publication by the Neapolitan historian Achille della Ragione. Work with antique (?) golden frame (with flaws) . The painting depicts Saint Cecilia, who lived in Rome between the 2nd and 3rd centuries and was martyred for having professed her Christian faith. According to the Legenda Aurea, the saint sang praises to the Lord while she was being executed, but it is highly uncertain why Cecilia became the patron saint of music. In fact, a link between Cecilia and music is only documented from the late Middle Ages onwards. In relation to this subject, there is another version attributed to Sebastiano Conca, of which there is a photograph in the Fondazione Federico Zeri Photographic Archive, published in the Sotheby's London catalogue of 10 July 1974, no. 84. The Archive version differs from the painting here in that it is not inscribed within an oval frame and is smaller in size. Previously unknown and without any specific relationship with the large compositions executed by Sebastiano Conca for Roman churches or those sent beyond the borders of the Papal States, the small painting here represents a splendid example of the production for private use that constituted a minor but not insignificant aspect of the painter's activity, with the help of his workshop. The graceful classicism of the composition and the elegance of the pictorial conduct of the painting find significant and close parallels in Conca's corpus. The drawing structure of clear classicist derivation, the compositional scheme carried out according to the academic norm of the centre rhythm, the elegant finishing of the details all suggest that this painting belongs to the circle or workshop of the artist, without excluding - with some caution - a direct attribution to the master. We now want to provide the reader with some biographical data of Sebastiano Conca, a painter to whom an exhaustive exhibition was dedicated a few decades ago in his native Gaeta. Sebastiano Conca was born in Gaeta in 1680 and died in the same city in 1764. Also called "Il cavaliere", he was the eldest of ten brothers. His father Erasmo dedicated himself to commerce and the second son Don Nicolò was archdeacon of the cathedral of Gaeta. Sebastiano attended the Neapolitan school of Francesco Solimena for over 15 years. From 1706 he moved to Rome with his brother Giovanni, where he joined Carlo Maratta and carried out a profitable activity as a fresco painter and altar artist until after 1750. In contact with the latter, his exuberant artistic style became partially moderated. In Rome, under the patronage of Cardinal Ottoboni, he was introduced to Pope Clement XI, who assigned him the fresco depicting Jeremiah in the Basilica of San Giovanni in Laterano. For the painting he was rewarded by the pope with the title of knight and by the cardinal with a diamond cross. In 1710 he opened his own academy, the so-called Accademia del Nudo, which attracted many students from all over Europe, including Pompeo Batoni, the Sicilians Olivio Sozzi and Giuseppe Tresca and Carlo Maratta, and which served to spread his style throughout the continent. In 1729 he became part of the Accademia di San Luca and became its director from 1729 to 1731 and from 1739 to 1741. In August 1731, the painter was called to Siena to fresco the apse of the Church of the Santissima Annunziata, by the will of the rector of Santa Maria della Scala, Ugolino Billò. The work was finished in April 1732. With the "Probatica Piscina" (or "Piscina di Siloan") , Conca earned the widespread admiration of his contemporaries. In particular, the wide range of the work and the wise composition, faithful to the Gospel story and full of scrupulous details, were appreciated. He was later, among other things, in the service of the Savoy court, and worked at the oratory of San Filippo and the church of Santa Teresa in Turin. In 1739 he wrote a book titled Ammonimenti, containing moral and artistic precepts and dedicated to all young people who wanted to become painters. After his return to Naples in 1752, Conca moved from the classical experiences to the more grandiose canons of the late Baroque and Rococo and was inspired above all by the works of Luca Giordano. Thanks to the help of Vanvitelli, he received honours and assignments from Charles III of Bourbon and from the most powerful Neapolitan religious orders. His most demanding works of this last years have been destroyed, while numerous altarpieces from Naples remain, canvases sent to Sicily, the paintings executed for the Benedictines of Aversa (1761) and the Stories of San Francesco da Paola, carried out between 1762 and 1763 for the Friars Minor of the Sanctuary of Santa Maria di Pozzano in Castellammare. By royal decree he was elevated to the rank of nobleman in 1757. The reasons for his sensational success can be recognised in his great ability to mediate the different artistic components of the century: that grandiloquent and grandiose scenography, learned over the years with Solimena, and the more measured and composed reforming classicism of Maratta. Conca's ability was therefore to know how to measure himself both with tradition and with the cautious novelties of the moment, dosing and strengthening the different and multiple components of the late Baroque language from time to time. Among his best students is Gaetano Lapis, also known as il Carraccetto. Sebastiano's nephew, the Roman Tommaso Conca, also had a fair amount of fame. Sebastiano Conca left countless works, estimated at around 1,200 pieces. ( quoting Achille della Ragione, 2021) . The canvas is in fair condition. The pictorial surface has a patina. Some small scattered restorations, peeling and oxidation of the surface emerged under Wood’s lamp. In natural light, you can see a fine craquelure consistent with the painting’s age. The painting - of a good painterly hand - is very interesting both for its iconographic setting and for the application of colours, evidence of an artist with great interpretational quality. Oval canvas size: 33. 5 x 27 cm. The painting comes with a beautiful gilded frame (dimensions: approx. 50 x 36 x 5 cm, with flaws) . Origin: private collection. Publication: \t. Unpublished; \t. I miti e il territorio nella Sicilia dalle mille culture. INEDITA QUADRERIA catalogo generale dei dipinti della collezione del ciclo “I Miti e il territorio”, 2nd edition, Lab_04, Marsala, 2022. We guarantee accurate packaging with outer wooden crate and inner bubble wrap / cardboard / polystyrene (packaging cost: approximately €100. 00) and tracked shipping (€100. 00 Italy) For export, the work is subject to a new request for Certificate of Free Circulation (European Community) or Export Certificate (Extra-EU Transport) at the export office (Soprintendenza del Territorio) with additional times and costs (€300/€500, all inclusive: shipping, packaging, and export documents) . The original documents (including the catalogue, will be sent separately after receiving payment from Catawiki) . The shipment may be delayed by a few days/weeks for logistical and administrative reasons.
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