Cesare Fracanzano (1605-1651), San Pietro, Oil Painting / Ca





for sale
- Period : 17th century
- Style : Other Style
- Height : 112cm
- Width : 128cm
- Material : Oil on canvas
- antique dealer
Ars Antiqua srl - Telephone: +39 02 29529057
- Mobile: 393664680856
- Milano,Italy
- Contact Dealer
- Make an offer
- Show all items
Detailed Description
Cesare Fracanzano (Bisceglie, 1605 - Barletta, 1651)
The repentance of St. Peter
Oil on canvas, 112 x 128 cm, with frame 159 x 184.5 cm
The strong stylistic and formal consonances make it possible to identify in this canvas the hand of Cesare Fracanzano . Il Fracanzano was born in Bisceglie in 1605, son of Alessandro, a painter originally from Verona, who had married the baroque Elisabetta Milazzo. The first rudiments of painting received them from his father, following him, together with his brother Francesco (1612 - 1656), a painter himself, in his movements. The choice for moving to Naples, around 1616, and entering the workshop of Jusepe de Ribera (1596 - 1652) is fundamental for her training and pictorial maturation. Quoted by De Domenici in his "Lives of Painters, Sculptors and Architects Napolitani", the Fracanzano finds in Naples an environment in great ferment, where some of the most important artists of the century are active and where the multiple pictorial directions of the time meet and they collide at the same time. Naturalism and caravaggism move together with classicist instances, sometimes creating solutions that seem to proceed in parallel. Returning to Barletta, the city where he will marry and where he will realize many commissions, he will continue to move for work. In particular, he will always be sought in Naples, a city where many of his works are kept, cited in numerous archival documents, where he also emphasizes the high price that was necessary to pay for his. Painter strongly influenced by the Ribera and by the great Caravaggesque current, able however to assimilate and unite other currents (for example, the painting of Giovanni Lanfranco, active in Naples at that time), expresses in this subject, recurrent in his work , all its quality and the strong emotional charge inherent in his work. The repentance of St. Peter, a moment of great emotional impact and of profound religious significance, takes place shortly after the arrest of Christ, as recounted by the Synoptic Gospels. Shortly before, Jesus predicted the disbanding of his apostles and replied to Peter, rising to these words, that that very night he would deny him three times, before the cock's song. After the arrest of the Master, Peter was recognized as a disciple but denied three times, before hearing the song of a rooster, repent and cry bitterly. The meeting with the Ribera is highlighted in the iconographic choice of the Fracanzano to represent the San Pietro half-length, slightly three-quarters with tunic and mantle characterized by wide folds, strong contrasts of light and shadow. The expression of facial pain is underlined by the expressiveness of the eyes, characterized by a strong shine and by the transparency of the tear that furrows the face. The chromatic fabric, played on low tones, the wide and fast strokes, create a portrait that is anything but idealized, of an intensity that makes the same pictorial material vibrate. The pictorial quality of Fracanzano is fully expressed in some details, such as hands, beard or hair, of rare beauty, rendered with great skill, in the deep attention to detail and naturalistic research. The attention to the naturalistic data, present in some of his works, is expressed here in the beautiful rendering of the cock, taken from the truth, which contrasts with the rough rocky bottom. His works are visible in some of the main Neapolitan churches, such as S. Domenico Maggiore, S. Maria della Sapienza, Santa Maria della Speranza and Pugliesi such as the Cathedral of Santa Maria Maggiore in Barletta, the Church of Santa Maria di Nazareth in Barletta, or the Cathedral of Gravina and in important museums such as the National Museum of San Martino, the Quadreria dei Girolamini in Naples, the Diocesan Museum of Andria or the Museo del Prado in Madrid. The painting is accompanied by the historical-critical examination of Dr. Arabella Cifani.
The repentance of St. Peter
Oil on canvas, 112 x 128 cm, with frame 159 x 184.5 cm
The strong stylistic and formal consonances make it possible to identify in this canvas the hand of Cesare Fracanzano . Il Fracanzano was born in Bisceglie in 1605, son of Alessandro, a painter originally from Verona, who had married the baroque Elisabetta Milazzo. The first rudiments of painting received them from his father, following him, together with his brother Francesco (1612 - 1656), a painter himself, in his movements. The choice for moving to Naples, around 1616, and entering the workshop of Jusepe de Ribera (1596 - 1652) is fundamental for her training and pictorial maturation. Quoted by De Domenici in his "Lives of Painters, Sculptors and Architects Napolitani", the Fracanzano finds in Naples an environment in great ferment, where some of the most important artists of the century are active and where the multiple pictorial directions of the time meet and they collide at the same time. Naturalism and caravaggism move together with classicist instances, sometimes creating solutions that seem to proceed in parallel. Returning to Barletta, the city where he will marry and where he will realize many commissions, he will continue to move for work. In particular, he will always be sought in Naples, a city where many of his works are kept, cited in numerous archival documents, where he also emphasizes the high price that was necessary to pay for his. Painter strongly influenced by the Ribera and by the great Caravaggesque current, able however to assimilate and unite other currents (for example, the painting of Giovanni Lanfranco, active in Naples at that time), expresses in this subject, recurrent in his work , all its quality and the strong emotional charge inherent in his work. The repentance of St. Peter, a moment of great emotional impact and of profound religious significance, takes place shortly after the arrest of Christ, as recounted by the Synoptic Gospels. Shortly before, Jesus predicted the disbanding of his apostles and replied to Peter, rising to these words, that that very night he would deny him three times, before the cock's song. After the arrest of the Master, Peter was recognized as a disciple but denied three times, before hearing the song of a rooster, repent and cry bitterly. The meeting with the Ribera is highlighted in the iconographic choice of the Fracanzano to represent the San Pietro half-length, slightly three-quarters with tunic and mantle characterized by wide folds, strong contrasts of light and shadow. The expression of facial pain is underlined by the expressiveness of the eyes, characterized by a strong shine and by the transparency of the tear that furrows the face. The chromatic fabric, played on low tones, the wide and fast strokes, create a portrait that is anything but idealized, of an intensity that makes the same pictorial material vibrate. The pictorial quality of Fracanzano is fully expressed in some details, such as hands, beard or hair, of rare beauty, rendered with great skill, in the deep attention to detail and naturalistic research. The attention to the naturalistic data, present in some of his works, is expressed here in the beautiful rendering of the cock, taken from the truth, which contrasts with the rough rocky bottom. His works are visible in some of the main Neapolitan churches, such as S. Domenico Maggiore, S. Maria della Sapienza, Santa Maria della Speranza and Pugliesi such as the Cathedral of Santa Maria Maggiore in Barletta, the Church of Santa Maria di Nazareth in Barletta, or the Cathedral of Gravina and in important museums such as the National Museum of San Martino, the Quadreria dei Girolamini in Naples, the Diocesan Museum of Andria or the Museo del Prado in Madrid. The painting is accompanied by the historical-critical examination of Dr. Arabella Cifani.