File:Artgate Fondazione Cariplo - Ottino Pasquale, S. Francesco e l'angelo.jpg
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Captions
Summary
[edit]Pasquale Ottini: Saint Francis and the Angel ( ) | ||||||||||||||||||||||||||
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Artist |
artist QS:P170,Q2370244 |
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Title |
Saint Francis and the Angel label QS:Len,"Saint Francis and the Angel"
label QS:Lit,"San Francesco e l’angelo" |
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Object type |
painting object_type QS:P31,Q3305213 |
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Description |
This work belonged to the collection of Caterina Marcenaro, who was responsible for its restoration in 1967, and entered the Cariplo Collection in 1976 under the terms of her bequest. While the Genoese scholar attributed it to Francisco Zurbarán, Federico Zeri identified it during the operations connected with the transfer of the collection’s ownership as the work of Pasquale Ottino, a Veronese artist active primarily in his hometown in the late 16th century and the first few decades of the 17th. The attribution of the canvas to Ottino is plausible. The Veronese school maintained its autonomy with respect to the Venetian, favouring a moderate form of naturalism that shows the influence of nearby Lombardy. Having trained in the workshop of Felice Brusasorci, Ottino found new stimuli in Bolognese circles and especially in the art of Alessandro Tiarini, as noted by Raffaella Colace in her description of the painting in the catalogue of the Cariplo Collection. Still more significance attaches for our reading of the work to the artist’s stay in Rome, which presumably took place in the years between 1615 and 1620. Direct acquaintance with the works of Caravaggio and Lanfranco had a marked impact on the style of Ottino, who became a convert to what Roberto Longhi termed “grandiose academic Caravaggism”. This interpretation of what he learned in Rome distinguishes the mature production of Pasquale Ottino, including both the Raising of Lazarus in the Borghese Gallery and the great altarpieces in the area of Verona (the parish church of Oppeano and San Giorgio in Braida). The Cariplo Saint Francis belongs to his mature period. While the naturalism of the face and above all the hands shows the influence of Caravaggesque models, the plump, curly-haired angel confirmation the artist’s familiarity with the classical prototypes of the Emilia school. Here too, Marcenaro’s original attribution of the work to Zurbarán, though incorrect, proves to hold an element of truth in that this constant interweaving of realism and classicism constitutes a recurrent feature of 17th-century Spanish art. In any case, the attribution of the work to Pasquale Ottino seems wholly credible and it should be possible to dispense with the doubts and misgivings expressed by Colace, who suggested at the end of her analysis, and after initially giving the impression that she accepted Zeri’s views, that the painting could be regarded as the product of a Spanish workshop. The iconography is somewhat uncommon. The reference is to the episode that took place in the monastery of Vicalvi near Sora, where Saint Francis, still uncertain whether to enter the priesthood, was visited by an angel with a vial of crystal-clear water and told that the soul of a priest should be equally pure, whereupon he abandoned the idea. The image can be read in two different ways. On the one hand, it emphasises the humility of the saint, who did not think himself worthy of the priesthood. On the other, it stresses the need for a priest to be irreproachable, a conception put forward by Catholic doctrine in the era of the Counter Reformation. It is therefore possible that the work was commissioned as an object both of devotion and of admonition by a priest or a religious community. This reading is borne out by the presence of a depiction of the episode in the sacristy of the Basilica of Santa Maria degli Angeli in Assisi, a reminder of the duties of priesthood to those preparing to celebrate Mass. |
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Date |
between 1620 and 1630 date QS:P571,+1650-00-00T00:00:00Z/7,P1319,+1620-00-00T00:00:00Z/9,P1326,+1630-00-00T00:00:00Z/9 |
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Medium |
oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions |
height: 121 cm (47.6 in); width: 140 cm (55.1 in) dimensions QS:P2048,121U174728 dimensions QS:P2049,140U174728 |
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Accession number |
MD 0040 |
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Notes | Domenico Sedini, Artgate Fondazione Cariplo | |||||||||||||||||||||||||
References |
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Source/Photographer | Artgate Fondazione Cariplo | |||||||||||||||||||||||||
Permission (Reusing this file) |
This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Attribution: Fondazione Cariplo
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Licensing
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This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
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Structured data
Items portrayed in this file
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image/jpeg
4169afde47cc58aed6afe466622d2996d40d0eea
91,948 byte
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- Artgate Fondazione Cariplo
- Pasquale Ottino
- 1620s oil on canvas paintings in Italy
- Paintings of Christian saints with putti
- 1620s paintings from Italy
- 1620s paintings in Milan
- Paintings of Francis of Assisi with a skull
- Pointing right in art
- 17th-century paintings of Francis of Assisi
- 17th-century religious paintings in Italy
- Putti on clouds
- Caterina Marcenaro collection