Francesco Fracanzano
![Francesco Fracanzano - Obrazy starých mistrů Francesco Fracanzano - Obrazy starých mistrů](/fileadmin/lot-images/38A151020/normal/francesco-fracanzano-2332480.jpg)
(Monopoli 1612–1656 Naples)
Drunken Silenus
oil on canvas, 226 x 169.5 cm, framed
Provenance:
Private European collection
Literature:
V. Pacelli, Pittura del ‘600 nelle collezioni napoletane, Naples, 2001, p. 67, n. 83; pl. 83
We are grateful to Riccardo Lattuada for confirming the attribution after examining the present painting in the original.
This painting, published by Vincenzo Pacelli in 2001, is correctly attributed by him to Francesco Fracanzano; Pacelli also pointed out the link with the almost identical version of the same composition at the Fogg Art Museum in Boston (published by R. Causa, La pittura del Seicento a Napoli dal naturalismo al Barocco, in: Storia di Napoli, vol. V, part II, Cava dei Tirreni, 1972, vol. V, part II, p. 934, fig. 297; and M. Novelli Radice, Inediti di Nunzio Russo, in: Napoli Nobilissima, 3rd series, n. 19, 1980, p. 194, who ascribed the painting in the Fogg Art Museum to Nunzio Rossi; the attribution to Francesco Fracanzano was repeated by G. De Vito in: Ritrovamenti e precisazioni a seguito della prima edizione della mostra del 600 napoletano, in: Ricerche sul ‘600 napoletano, 1984, p. 14; pp. 70-73, fig. 50-52; see P. Piscitello in: Ritorno al barocco, exhibition catalogue, ed. by N. Spinosa, Naples, 2009, vol. I, p. 124, for a comparison between the Boston picture and the Bacchanal by Francesco Fracanzano in a private collection).
In discussing the present picture, Pacelli highlighted its ‘extraordinary impact in terms of its monumentality and compositional rhythm’ and noted the ‘quick and brilliant application of paint’. The clear references to Ribera suggests a date close to that of the canvas depicting Saint Paul of Thebes and Saint Anthony Abbot from the church of Sant’Onofrio dei Vecchi, itself dated 1634. The painting that follows in the wake of Ribera’s Silenus, of Fracanzano’s other version at Capodimonte and of the ‘Borrachos’ of Velázquez, falls within that modern and desecrating interpretation of the classical theme first ‘overturned’ by the Bacchus painted by Caravaggio (see Pacelli, op. cit., 2001).
The large size of the canvas makes it plausible that it was planned for an aristocratic picture gallery. The bright use of colour and the fluency in application of the paint, characterised by the incisive appearance of the white drapes typical of Francesco Fracanzano, seem to confirm an approximate date of around 1635 or perhaps around 1640 - these years being those in which Titian’s Bacchanals were the object of a revival (see, for example, V. Farina, Sulla fortuna napoletana dei ‘Baccanali’ di Tiziano, in: Paragone, 2007, 3rd series, n. 71, pp. 11-42).
The present composition is also influenced by Rubens’ Bacchus seated on a barrel (now at the Hermitage, Saint Petersburg; see M. Jaffé, Rubens. Catalogo completo, Milan, 1989, p. 366, n. 1342). There is a clear and strong link between the present painting and Rubens’ composition. Francesco Fracanzano must have known prints made of the work of Giulio Romano, Annibale Carracci and other, lesser-known artists. Without mentioning the noted influence of Ribera’s Drunken Silenus of 1626, a work wholly familiar to Fracanzano, who seems to have frequented the Spanish painter’s studio over a long period of time. Recent contributions regarding this painter include G. De Vito, Perifrasi fracanzaniane, in: Ricerche sul ‘600 napoletano, 2004, pp. 93-122; L. Coiro, Un’ ‘Incredulità di San Tommaso’ di Francesco Fracanzano, in: Kronos, n. 14, 2011, pp. 203-210; N. Spinosa, Alcune aggiunte a Cesare e Francesco Fracanzano, in: Tempi e forme dell’arte. Miscellanea di studi offerti a Pina Belli D’Elia, ed. by L. Derosa and C. Gelao, Foggia, 2011, pp. 341-351; M. Epifani, Apertura per la grafica dei fratelli Fracanzano, in: Paragone, 3rd series, n. 109-110, 2013, pp. 34-51, fig. 49-58; G. Forgione, Un ‘Matrimonio mistico’ di Francesco Fracanzano ed alcune riflessioni sulla ‘crisi’ classicistica del suo ultimo tempo, in: Arte Cristiana, n. 874, 2013, pp. 27-32.
We are grateful to Riccardo Lattuada for his help in cataloguing this lot.
Provenance:
Private European collection
Literature:
V. Pacelli, Pittura del ‘600 nelle collezioni napoletane, Naples, 2001, p. 67, n. 83; pl. 83
We are grateful to Riccardo Lattuada for confirming the attribution after examining the present painting in the original.
This painting, published by Vincenzo Pacelli in 2001, is correctly attributed by him to Francesco Fracanzano; Pacelli also pointed out the link with the almost identical version of the same composition at the Fogg Art Museum in Boston (published by R. Causa, La pittura del Seicento a Napoli dal naturalismo al Barocco, in: Storia di Napoli, vol. V, part II, Cava dei Tirreni, 1972, vol. V, part II, p. 934, fig. 297; and M. Novelli Radice, Inediti di Nunzio Russo, in: Napoli Nobilissima, 3rd series, n. 19, 1980, p. 194, who ascribed the painting in the Fogg Art Museum to Nunzio Rossi; the attribution to Francesco Fracanzano was repeated by G. De Vito in: Ritrovamenti e precisazioni a seguito della prima edizione della mostra del 600 napoletano, in: Ricerche sul ‘600 napoletano, 1984, p. 14; pp. 70-73, fig. 50-52; see P. Piscitello in: Ritorno al barocco, exhibition catalogue, ed. by N. Spinosa, Naples, 2009, vol. I, p. 124, for a comparison between the Boston picture and the Bacchanal by Francesco Fracanzano in a private collection).
In discussing the present picture, Pacelli highlighted its ‘extraordinary impact in terms of its monumentality and compositional rhythm’ and noted the ‘quick and brilliant application of paint’. The clear references to Ribera suggests a date close to that of the canvas depicting Saint Paul of Thebes and Saint Anthony Abbot from the church of Sant’Onofrio dei Vecchi, itself dated 1634. The painting that follows in the wake of Ribera’s Silenus, of Fracanzano’s other version at Capodimonte and of the ‘Borrachos’ of Velázquez, falls within that modern and desecrating interpretation of the classical theme first ‘overturned’ by the Bacchus painted by Caravaggio (see Pacelli, op. cit., 2001).
The large size of the canvas makes it plausible that it was planned for an aristocratic picture gallery. The bright use of colour and the fluency in application of the paint, characterised by the incisive appearance of the white drapes typical of Francesco Fracanzano, seem to confirm an approximate date of around 1635 or perhaps around 1640 - these years being those in which Titian’s Bacchanals were the object of a revival (see, for example, V. Farina, Sulla fortuna napoletana dei ‘Baccanali’ di Tiziano, in: Paragone, 2007, 3rd series, n. 71, pp. 11-42).
The present composition is also influenced by Rubens’ Bacchus seated on a barrel (now at the Hermitage, Saint Petersburg; see M. Jaffé, Rubens. Catalogo completo, Milan, 1989, p. 366, n. 1342). There is a clear and strong link between the present painting and Rubens’ composition. Francesco Fracanzano must have known prints made of the work of Giulio Romano, Annibale Carracci and other, lesser-known artists. Without mentioning the noted influence of Ribera’s Drunken Silenus of 1626, a work wholly familiar to Fracanzano who seems to have frequented the Spanish painter’s studio over a long period of time. Recent contributions regarding this painter include G. De Vito, Perifrasi fracanzaniane, in: Ricerche sul ‘600 napoletano, 2004, pp. 93-122; L. Coiro, Un’ ‘Incredulità di San Tommaso’ di Francesco Fracanzano, in: Kronos, n. 14, 2011, pp. 203-210; N. Spinosa, Alcune aggiunte a Cesare e Francesco Fracanzano, in: Tempi e forme dell’arte. Miscellanea di studi offerti a Pina Belli D’Elia, ed. by L. Derosa and C. Gelao, Foggia, 2011, pp. 341-351; M. Epifani, Apertura per la grafica dei fratelli Fracanzano, in: Paragone, 3rd series, n. 109-110, 2013, pp. 34-51, fig. 49-58; G. Forgione, Un ‘Matrimonio mistico’ di Francesco Fracanzano ed alcune riflessioni sulla ‘crisi’ classicistica del suo ultimo tempo, in: Arte Cristiana, n. 874, 2013, pp. 27-32.
We are grateful to Riccardo Lattuada for his help in cataloguing this lot.
20.10.2015 - 18:00
- Odhadní cena:
-
EUR 120.000,- do EUR 150.000,-
Francesco Fracanzano
(Monopoli 1612–1656 Naples)
Drunken Silenus
oil on canvas, 226 x 169.5 cm, framed
Provenance:
Private European collection
Literature:
V. Pacelli, Pittura del ‘600 nelle collezioni napoletane, Naples, 2001, p. 67, n. 83; pl. 83
We are grateful to Riccardo Lattuada for confirming the attribution after examining the present painting in the original.
This painting, published by Vincenzo Pacelli in 2001, is correctly attributed by him to Francesco Fracanzano; Pacelli also pointed out the link with the almost identical version of the same composition at the Fogg Art Museum in Boston (published by R. Causa, La pittura del Seicento a Napoli dal naturalismo al Barocco, in: Storia di Napoli, vol. V, part II, Cava dei Tirreni, 1972, vol. V, part II, p. 934, fig. 297; and M. Novelli Radice, Inediti di Nunzio Russo, in: Napoli Nobilissima, 3rd series, n. 19, 1980, p. 194, who ascribed the painting in the Fogg Art Museum to Nunzio Rossi; the attribution to Francesco Fracanzano was repeated by G. De Vito in: Ritrovamenti e precisazioni a seguito della prima edizione della mostra del 600 napoletano, in: Ricerche sul ‘600 napoletano, 1984, p. 14; pp. 70-73, fig. 50-52; see P. Piscitello in: Ritorno al barocco, exhibition catalogue, ed. by N. Spinosa, Naples, 2009, vol. I, p. 124, for a comparison between the Boston picture and the Bacchanal by Francesco Fracanzano in a private collection).
In discussing the present picture, Pacelli highlighted its ‘extraordinary impact in terms of its monumentality and compositional rhythm’ and noted the ‘quick and brilliant application of paint’. The clear references to Ribera suggests a date close to that of the canvas depicting Saint Paul of Thebes and Saint Anthony Abbot from the church of Sant’Onofrio dei Vecchi, itself dated 1634. The painting that follows in the wake of Ribera’s Silenus, of Fracanzano’s other version at Capodimonte and of the ‘Borrachos’ of Velázquez, falls within that modern and desecrating interpretation of the classical theme first ‘overturned’ by the Bacchus painted by Caravaggio (see Pacelli, op. cit., 2001).
The large size of the canvas makes it plausible that it was planned for an aristocratic picture gallery. The bright use of colour and the fluency in application of the paint, characterised by the incisive appearance of the white drapes typical of Francesco Fracanzano, seem to confirm an approximate date of around 1635 or perhaps around 1640 - these years being those in which Titian’s Bacchanals were the object of a revival (see, for example, V. Farina, Sulla fortuna napoletana dei ‘Baccanali’ di Tiziano, in: Paragone, 2007, 3rd series, n. 71, pp. 11-42).
The present composition is also influenced by Rubens’ Bacchus seated on a barrel (now at the Hermitage, Saint Petersburg; see M. Jaffé, Rubens. Catalogo completo, Milan, 1989, p. 366, n. 1342). There is a clear and strong link between the present painting and Rubens’ composition. Francesco Fracanzano must have known prints made of the work of Giulio Romano, Annibale Carracci and other, lesser-known artists. Without mentioning the noted influence of Ribera’s Drunken Silenus of 1626, a work wholly familiar to Fracanzano, who seems to have frequented the Spanish painter’s studio over a long period of time. Recent contributions regarding this painter include G. De Vito, Perifrasi fracanzaniane, in: Ricerche sul ‘600 napoletano, 2004, pp. 93-122; L. Coiro, Un’ ‘Incredulità di San Tommaso’ di Francesco Fracanzano, in: Kronos, n. 14, 2011, pp. 203-210; N. Spinosa, Alcune aggiunte a Cesare e Francesco Fracanzano, in: Tempi e forme dell’arte. Miscellanea di studi offerti a Pina Belli D’Elia, ed. by L. Derosa and C. Gelao, Foggia, 2011, pp. 341-351; M. Epifani, Apertura per la grafica dei fratelli Fracanzano, in: Paragone, 3rd series, n. 109-110, 2013, pp. 34-51, fig. 49-58; G. Forgione, Un ‘Matrimonio mistico’ di Francesco Fracanzano ed alcune riflessioni sulla ‘crisi’ classicistica del suo ultimo tempo, in: Arte Cristiana, n. 874, 2013, pp. 27-32.
We are grateful to Riccardo Lattuada for his help in cataloguing this lot.
Provenance:
Private European collection
Literature:
V. Pacelli, Pittura del ‘600 nelle collezioni napoletane, Naples, 2001, p. 67, n. 83; pl. 83
We are grateful to Riccardo Lattuada for confirming the attribution after examining the present painting in the original.
This painting, published by Vincenzo Pacelli in 2001, is correctly attributed by him to Francesco Fracanzano; Pacelli also pointed out the link with the almost identical version of the same composition at the Fogg Art Museum in Boston (published by R. Causa, La pittura del Seicento a Napoli dal naturalismo al Barocco, in: Storia di Napoli, vol. V, part II, Cava dei Tirreni, 1972, vol. V, part II, p. 934, fig. 297; and M. Novelli Radice, Inediti di Nunzio Russo, in: Napoli Nobilissima, 3rd series, n. 19, 1980, p. 194, who ascribed the painting in the Fogg Art Museum to Nunzio Rossi; the attribution to Francesco Fracanzano was repeated by G. De Vito in: Ritrovamenti e precisazioni a seguito della prima edizione della mostra del 600 napoletano, in: Ricerche sul ‘600 napoletano, 1984, p. 14; pp. 70-73, fig. 50-52; see P. Piscitello in: Ritorno al barocco, exhibition catalogue, ed. by N. Spinosa, Naples, 2009, vol. I, p. 124, for a comparison between the Boston picture and the Bacchanal by Francesco Fracanzano in a private collection).
In discussing the present picture, Pacelli highlighted its ‘extraordinary impact in terms of its monumentality and compositional rhythm’ and noted the ‘quick and brilliant application of paint’. The clear references to Ribera suggests a date close to that of the canvas depicting Saint Paul of Thebes and Saint Anthony Abbot from the church of Sant’Onofrio dei Vecchi, itself dated 1634. The painting that follows in the wake of Ribera’s Silenus, of Fracanzano’s other version at Capodimonte and of the ‘Borrachos’ of Velázquez, falls within that modern and desecrating interpretation of the classical theme first ‘overturned’ by the Bacchus painted by Caravaggio (see Pacelli, op. cit., 2001).
The large size of the canvas makes it plausible that it was planned for an aristocratic picture gallery. The bright use of colour and the fluency in application of the paint, characterised by the incisive appearance of the white drapes typical of Francesco Fracanzano, seem to confirm an approximate date of around 1635 or perhaps around 1640 - these years being those in which Titian’s Bacchanals were the object of a revival (see, for example, V. Farina, Sulla fortuna napoletana dei ‘Baccanali’ di Tiziano, in: Paragone, 2007, 3rd series, n. 71, pp. 11-42).
The present composition is also influenced by Rubens’ Bacchus seated on a barrel (now at the Hermitage, Saint Petersburg; see M. Jaffé, Rubens. Catalogo completo, Milan, 1989, p. 366, n. 1342). There is a clear and strong link between the present painting and Rubens’ composition. Francesco Fracanzano must have known prints made of the work of Giulio Romano, Annibale Carracci and other, lesser-known artists. Without mentioning the noted influence of Ribera’s Drunken Silenus of 1626, a work wholly familiar to Fracanzano who seems to have frequented the Spanish painter’s studio over a long period of time. Recent contributions regarding this painter include G. De Vito, Perifrasi fracanzaniane, in: Ricerche sul ‘600 napoletano, 2004, pp. 93-122; L. Coiro, Un’ ‘Incredulità di San Tommaso’ di Francesco Fracanzano, in: Kronos, n. 14, 2011, pp. 203-210; N. Spinosa, Alcune aggiunte a Cesare e Francesco Fracanzano, in: Tempi e forme dell’arte. Miscellanea di studi offerti a Pina Belli D’Elia, ed. by L. Derosa and C. Gelao, Foggia, 2011, pp. 341-351; M. Epifani, Apertura per la grafica dei fratelli Fracanzano, in: Paragone, 3rd series, n. 109-110, 2013, pp. 34-51, fig. 49-58; G. Forgione, Un ‘Matrimonio mistico’ di Francesco Fracanzano ed alcune riflessioni sulla ‘crisi’ classicistica del suo ultimo tempo, in: Arte Cristiana, n. 874, 2013, pp. 27-32.
We are grateful to Riccardo Lattuada for his help in cataloguing this lot.
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Aukce: | Obrazy starých mistrů |
Typ aukce: | Salónní aukce |
Datum: | 20.10.2015 - 18:00 |
Místo konání aukce: | Wien | Palais Dorotheum |
Prohlídka: | 10.10. - 20.10.2015 |
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