Null Jacopo Cestaro (Bagnoli Irpino 1718 - Naples 1785), The Tribute to Caesar, …
Description

Jacopo Cestaro (Bagnoli Irpino 1718 - Naples 1785), The Tribute to Caesar, from Rubens 18th century Watercolor on parchment pasted on a coeval walnut panel 42x51 cm, within gilt wood frame signed in pencil at the bottom Jacopo Cestaro Pinx Trained in the workshop of the illustrious late Baroque artist Francesco Solimena, Jacopo Cestaro was strongly influenced by the master's lessons but managed to develop a personal style oriented toward an Arcadian classicism. He later obtained important commissions for churches in the Kingdom of Naples. The prized watercolor is based on Peter Paul Rubens' painting 'The Tribute of the Coin' preserved at the Fine Arts Museums of San Francisco, dated between 1610 and 1615 (Inv. No. 44.11). The scene depicts Jesus reciting the famous passage recorded in the synoptic gospels 'Give to Caesar what is Caesar's and to God what is God's' (Gospel according to Matthew 22:21, Gospel according to Mark 12:17, Gospel according to Luke 20:25).

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Jacopo Cestaro (Bagnoli Irpino 1718 - Naples 1785), The Tribute to Caesar, from Rubens 18th century Watercolor on parchment pasted on a coeval walnut panel 42x51 cm, within gilt wood frame signed in pencil at the bottom Jacopo Cestaro Pinx Trained in the workshop of the illustrious late Baroque artist Francesco Solimena, Jacopo Cestaro was strongly influenced by the master's lessons but managed to develop a personal style oriented toward an Arcadian classicism. He later obtained important commissions for churches in the Kingdom of Naples. The prized watercolor is based on Peter Paul Rubens' painting 'The Tribute of the Coin' preserved at the Fine Arts Museums of San Francisco, dated between 1610 and 1615 (Inv. No. 44.11). The scene depicts Jesus reciting the famous passage recorded in the synoptic gospels 'Give to Caesar what is Caesar's and to God what is God's' (Gospel according to Matthew 22:21, Gospel according to Mark 12:17, Gospel according to Luke 20:25).

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