Federico Barocci
(Urbino 1535–1612) The Vision of Saint Francis, etching and engraving, 1581, inscribed and dated in the plate “Fediricus Barocius Urbina Inucntor incidebat 1581”, 53 x 32 cm, trimmed to framing lines, browned, surface somewhat rubbed and with minor losses, Bartsch 4, Pillsbury-Richards 73, I (of II), mounted, unframed, (Sch)
The etching reproduces the painting on the high altar painting of the church S. Francesco in Urbino which Barocci completed in 1576. The inclusion of St. Nicholas in the upper part of the composition reflects the fact that the painting was commissioned from Nicolo Ventura.
In the etching Barocci tried to render the variety of light effects in the painting. He introduced three different light sources which distinguish three different levels in the painting: the supernatural illumination from Christ which falls upon Saint Francis, natural light which fills the heavenly sphere and the candle light on the altar of the chapel which lights the background. The light supports the perspective system which establishes a different viewpoint for the two parts: a low one for the vision of Saint Francis and a high point of view for the kneeling saints and the church interior.
Literature:
Edmund P. Pillsbury, The Graphic Art of Penico Barocci, The Cleveland Museum of Art, 1978, cat. no 73, pp. 102–104.
Esperta: Mag. Astrid-Christina Schierz
Mag. Astrid-Christina Schierz
+43-1-515 60-546
astrid.schierz@dorotheum.at
08.11.2012 - 16:00
- Prezzo realizzato: **
-
EUR 3.810,-
- Stima:
-
EUR 3.500,- a EUR 4.000,-
Federico Barocci
(Urbino 1535–1612) The Vision of Saint Francis, etching and engraving, 1581, inscribed and dated in the plate “Fediricus Barocius Urbina Inucntor incidebat 1581”, 53 x 32 cm, trimmed to framing lines, browned, surface somewhat rubbed and with minor losses, Bartsch 4, Pillsbury-Richards 73, I (of II), mounted, unframed, (Sch)
The etching reproduces the painting on the high altar painting of the church S. Francesco in Urbino which Barocci completed in 1576. The inclusion of St. Nicholas in the upper part of the composition reflects the fact that the painting was commissioned from Nicolo Ventura.
In the etching Barocci tried to render the variety of light effects in the painting. He introduced three different light sources which distinguish three different levels in the painting: the supernatural illumination from Christ which falls upon Saint Francis, natural light which fills the heavenly sphere and the candle light on the altar of the chapel which lights the background. The light supports the perspective system which establishes a different viewpoint for the two parts: a low one for the vision of Saint Francis and a high point of view for the kneeling saints and the church interior.
Literature:
Edmund P. Pillsbury, The Graphic Art of Penico Barocci, The Cleveland Museum of Art, 1978, cat. no 73, pp. 102–104.
Esperta: Mag. Astrid-Christina Schierz
Mag. Astrid-Christina Schierz
+43-1-515 60-546
astrid.schierz@dorotheum.at
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lun-ven: 10.00 - 17.00
kundendienst@dorotheum.at +43 1 515 60 200 |
| Asta: | Disegni e stampe fino al 1900, acquarelli e miniature |
| Tipo d'asta: | Asta in sala |
| Data: | 08.11.2012 - 16:00 |
| Luogo dell'asta: | Wien | Palais Dorotheum |
| Esposizione: | 02.11. - 08.11.2012 |
** Prezzo d’acquisto comprensivo dei diritti d’asta acquirente e IVA
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