(Bergamo circa 1556–1627)
Portrait of Gian Gerolamo Albani, Venetian Consul for Genoa,
Inscribed on the letter: Dilecto nostri Io. Hier.mo Albano Consuli N.ro Januae existenti,
oil on canvas, 99 x 82.5 cm, framed

Provenance:
Bergamo, private collection (1930);
Milan, private collection (1932);
Turin, private collection (1998);
European private collection

Literature:
A. Locatelli Milesi, Ritratto di Gian Gerolamo Albani, in: Bergomum, IV, 1930, S. 257-258 (as Cavagna);
A. Porcella, An unknown El Greco in: Burlington Magazine, Juni 1932, S. 276-280, fig. p. 272 (as El Greco);
V. Fossati Bellani, An Unknown El Greco- A problem, in: Burlington Magazine, Januar, 1934, S. 43-44, fig. A-B;
A. Locatelli Milesi, Un dipinto del Cavagna attribuito al Greco, in: Bergomum, gennaio-marzo, 1934, pp. 94-95;
A. Locatelli Milesi, Un maestro poco noto: Gian Paolo Cavagna, in: Emporium, April 1935-XIII, pp. 217-225, illustrated p. 221;
G. Testori, Carlo Ceresa Ritrattista in: Paragone, 1953, n. 39 p. 20; L. Bandera in Pittori Bergamaschi dal XII al XIX secolo. Il Cinquecento , vol. IV, 1978, S. 199 Nr. 130
Giovan Paolo Cavagna e il ritratto a Bergamo dopo Moroni, Ausst. Kat., hg. von E. De Pascale/F. Rossi, Bergamo, 1998, S. 17

Porcella published the present painting in 1932 as a work by Domínikos Theotokópoulos, El Greco and dated it to his Venetian period, circa 1576-77 (see op. cit. Porcella, 1932, p. 276-280). However the work had been given to Giovan Paolo Cavagna by Locatelli Milesi in 1930 (see op.cit., Locatelli Milesi, 1930, pp. 257-258) and the attribution was reaffirmed two years later by Fossati Bellani (see op. cit., 1934, p. 43-44).

The present painting has been dated to the Cavagna´s maturity, between circa 1590-1600, when Cavagna executed his most important works under the influence of Giovanni Battista Moroni. These works are characterized by a strong naturalism as seen in the figures in the altarpiece of the Madonna che consegna il cinto ad un santo Monaco (Accademia Carrara, Bergamo). The present portrait can be compared, in particular, with the Gentleman standing (Bardini Museum, Florence (signed and dated 1600) and the Gentleman with a letter (Palazzo Venezia, Rome).

The composition is based upon prototypes by Giovan Battista Moroni: see the presumed Portrait of Leonardo Salvagni (National Gallery, London) by Moroni, which displays the same figure-type, depicted three-quarter length with an arm resting upon a book on the table. Other elements from Moroni, such as the remarkable definition of the hands and the intensity of the austere expression, are combined with a pictorial subtlety and luminous effects which also recall the work of the Bassano family, expressed through flickering brushstrokes. The noble and severe character of the composition is typical of the Counter-Reformation period, and the evident realism is derived from the Lombard tradition of portraiture, evident in the lifelike quality of the skin, are expressed with a sober palette made of iridescent black and white.

Giovan Paolo Cavagna was trained in the workshop of Cristoforo Baschenis the elder and, according to early sources, was also employed in Titian’s workshop in Venice. He was also influenced by Simone Peterzano, with echoes of Giovanni Girolamo Savoldo and Moretto, as well as by Giovanni Battista Moroni. Cavagna also executed fresco decorations, although a part of this production is lost, and a number of altarpieces.