Sisto Badalocchio (1585-1621 ca.), attribuito a - Sacra famiglia con San Giovanni e Santa Lucia
\Artist: Sisto Badalocchio (1585-1621 ca.) , attribuito a
Technique: Oil on copper\Signature: Not signed\Dimensions: 31_31_3_cm
Sisto Badalocchio (Parma, 1585 - 1621 ca.) , attributed to. Student of Annibale Carracci (Bologna, 1560 – Rome, 1609) . “Sacra famiglia con San Giovanni e Santa Lucia”. Oil on copper. Early nineteenth-century frame with flaws, offered as a gift. Size: 18 x 18 cm; 31 x 31 cm (frame) . We thank Professor Michele Danieli, art historian who, after viewing high-resolution photos, states that the Carracci-like octagon can be traced back to Sisto Badalocchio (Parma, 1585 - 1621 ca.) , a student of Annibale Carracci. He was in the workshop of Annibale in Rome, and after the death of the master (1609) , he returned to his native Parma. In addition to the precise quotation from Correggio (the Child is identical to that of the Madonna di san Girolamo of the National Gallery in Parma) , what points to Badalocchio are the light colours and the compact consistency of the complexions, as well as the fluency in the rendering of details, such as the flowing hair of Giuseppe. I believe it can be dated at the last Roman years, or immediately after returning to Emilia, because of Annibale’s strong stylistic influence. In this work the artist has created an image of the Holy Family, following the sweet and naturalistic ways of the Italian school. At the centre of the composition there are Mary and the Child, and next to them the figure of St. John, placed in the foreground and in the background St. John and St. Lucia, who bear with their eyes the palm of martyrdom and the tray, elements of their iconography. The attitude of closeness between all the characters is used by the artist to inspire and indoctrinate the viewer, thus leading him to empathize with religion through a friendly scene. In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, that is, the mother and grandmother or the mother and father that feed. In both cases, whether with St. Anne or St. Joseph, it is a group of three figures. From an artistic point of view, the arrangement of this earthly Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are less. It is no longer a question of one God in three persons from whom essential unity must be expressed together with diversity. The three characters are linked by a blood bond, of course, but they do not constitute an indivisible block. All three, moreover, are represented in human form, while the dove of the Holy Spirit introduces into the divine Trinity a zoomorphic element that is difficult to amalgamate with two anthropomorphic figures. On the other hand, this iconography was traditionally, until the Counter-Reformation, a representation of the Virgin and Child to which was added in the foreground the figure of St. Joseph. It will be only with the reforms of Trent that St. Joseph will begin to be the protagonist as protector and guide of the Child Jesus. At the beginning of the seventeenth century, at the time when Caravaggio illuminated his break with Mannerist and even Renaissance conventions, a new way of understanding painting emerged in Bologna with Carracci, which was commonly called "eclecticism". He wanted to integrate the best of every master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, the personality of Annibale Carracci led him to evolve towards a very personal classicism, which did not disdain certain Caravaggesque achievements. The work has a beautiful antique frame of wood and gilded stucco in good condition, with a plate on which the name of Annibale Carracci in Spanish (Annibal Carrachè) is reported; offered as a gift. No major restorations have emerged under Wood’s lamp. From a private collection, with certification in accordance with art. 64, Legislative Decree 22 January 2004, no 42, of the Law on Cultural Heritage and Landscape (Italy) . Accurate packaging and insured shipping via courier. In case of any delivery-related issues, before giving a negative/neutral feedback, please contact us and we will be glad to help you find a solution. Thank you.
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\Artist: Sisto Badalocchio (1585-1621 ca.) , attribuito a
Technique: Oil on copper\Signature: Not signed\Dimensions: 31_31_3_cm
Sisto Badalocchio (Parma, 1585 - 1621 ca.) , attributed to. Student of Annibale Carracci (Bologna, 1560 – Rome, 1609) . “Sacra famiglia con San Giovanni e Santa Lucia”. Oil on copper. Early nineteenth-century frame with flaws, offered as a gift. Size: 18 x 18 cm; 31 x 31 cm (frame) . We thank Professor Michele Danieli, art historian who, after viewing high-resolution photos, states that the Carracci-like octagon can be traced back to Sisto Badalocchio (Parma, 1585 - 1621 ca.) , a student of Annibale Carracci. He was in the workshop of Annibale in Rome, and after the death of the master (1609) , he returned to his native Parma. In addition to the precise quotation from Correggio (the Child is identical to that of the Madonna di san Girolamo of the National Gallery in Parma) , what points to Badalocchio are the light colours and the compact consistency of the complexions, as well as the fluency in the rendering of details, such as the flowing hair of Giuseppe. I believe it can be dated at the last Roman years, or immediately after returning to Emilia, because of Annibale’s strong stylistic influence. In this work the artist has created an image of the Holy Family, following the sweet and naturalistic ways of the Italian school. At the centre of the composition there are Mary and the Child, and next to them the figure of St. John, placed in the foreground and in the background St. John and St. Lucia, who bear with their eyes the palm of martyrdom and the tray, elements of their iconography. The attitude of closeness between all the characters is used by the artist to inspire and indoctrinate the viewer, thus leading him to empathize with religion through a friendly scene. In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, that is, the mother and grandmother or the mother and father that feed. In both cases, whether with St. Anne or St. Joseph, it is a group of three figures. From an artistic point of view, the arrangement of this earthly Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are less. It is no longer a question of one God in three persons from whom essential unity must be expressed together with diversity. The three characters are linked by a blood bond, of course, but they do not constitute an indivisible block. All three, moreover, are represented in human form, while the dove of the Holy Spirit introduces into the divine Trinity a zoomorphic element that is difficult to amalgamate with two anthropomorphic figures. On the other hand, this iconography was traditionally, until the Counter-Reformation, a representation of the Virgin and Child to which was added in the foreground the figure of St. Joseph. It will be only with the reforms of Trent that St. Joseph will begin to be the protagonist as protector and guide of the Child Jesus. At the beginning of the seventeenth century, at the time when Caravaggio illuminated his break with Mannerist and even Renaissance conventions, a new way of understanding painting emerged in Bologna with Carracci, which was commonly called "eclecticism". He wanted to integrate the best of every master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, the personality of Annibale Carracci led him to evolve towards a very personal classicism, which did not disdain certain Caravaggesque achievements. The work has a beautiful antique frame of wood and gilded stucco in good condition, with a plate on which the name of Annibale Carracci in Spanish (Annibal Carrachè) is reported; offered as a gift. No major restorations have emerged under Wood’s lamp. From a private collection, with certification in accordance with art. 64, Legislative Decree 22 January 2004, no 42, of the Law on Cultural Heritage and Landscape (Italy) . Accurate packaging and insured shipping via courier. In case of any delivery-related issues, before giving a negative/neutral feedback, please contact us and we will be glad to help you find a solution. Thank you.
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