Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706).

Attributed to GIACOMO FARELLI (Rome, 1624 - Naples, 1706). "Saint Cecilia". Oil on canvas. Re-retouching of the 19th century. It presents repainting and frame ca. 1850. Measurements; 123 x 93 cm; 143 x 115 cm (frame). Saint Cecilia of Rome was a Roman noblewoman converted to Christianity and martyred between 180 and 230 A.D., whose main documentation was the Acts of Saint Cecilia, dated in 480. In this text it talks about "órganis", word that was translated as organ (musical), being thus considered the patron saint of music and often accompanied by this instrument, although in this specific case she is represented next to a violin. Due to its technical characteristics, the work can be considered part of the artistic circle of Giacomo Farelli, who trained in the field of literature in his native Rome, but soon moved to Naples to develop his pictorial training as a pupil of Andrea Vaccaro. He entered Vaccaro's studio in 1644 and worked on numerous prints, particularly nudes, imitating the master to such an extent that some of his early works have often been confused with those of Vaccaro. Farelli's early paintings reveal a profound influence of his master, although his artistic language soon evolved towards a style closer to the classicism of Guido Reni and Domenichino. He soon became one of the leading exponents of Neapolitan Baroque classicism and in fact on some occasions worked alongside Francesco di Maria, the leading exponent of this school. His first documented works are "San Gennaro" and "The Massacre of the Innocents", executed in 1651 for Cesare Zattara. From his youth onwards his work reveals references to the naturalism of M. Stanzione, F. Vitale and C. and F. Fracanzano, influences that are added to those of Vaccaro and the unknown master of "Christ and the Adulterous Woman", which would appear on various occasions throughout his career. However, in a work of 1652, the "Vision of Saint Anthony", which he painted for the church of Trinita dei Peregrini in Naples, we can see a reduction of naturalism in favour of a chromatic sensibility closer to that of Cesare Fracanzano, as well as a certain influence of the works by Stanzione for the church of Santa Brigida. Shortly afterwards, between 1655 and 1656, he executed an altarpiece entitled "Apparition of Christ and the Virgin to Saint Bridget" (Naples, Saint Bridget), a work with which he intended to rival Luca Giordano (who had painted the "Miracle of Saint Nicholas" for the same church in 1655), and through which it is evident that Farelli developed a personal and independent, clearly identifiable style. This work reveals his experience in Vaccaro's workshop and a stricter construction of the volumes. From this point onwards his language evolved in the direction of colour, with soft, gentle tones, and was characterised by a growing importance of classicism, which modulated the naturalistic expressions of his beginnings. Particularly evident in his style was the virtuosity of his drawing, with its academic roots, as can be seen in the nudes of the "Allegory of the Arts" (Museo Nazionale di L'Aquila). During these years he also gave increasing importance to the draperies, which were worked in a softer manner, and his sensitivity to light became more pronounced, as can be seen in the "Vision of Saint John the Evangelist", signed and dated 1661, painted for the church of the same name in Sulmona. In this work, full of chromatic nuances, we see Farelli's progress in Giordano's direction. Already in his fresco decorations in the atrium of the sacristy of the Chapel of the Treasury in San Gennaro (1664) the master shows a marked approach to the eminently classical manner of Domenichino, laying the foundations of what would become his mature style.