Salvador DALI (1904-1989) Study for "The Last Supper," Christ and the Apostles, …

Description

Salvador DALI (1904-1989)

Study for "The Last Supper," Christ and the Apostles, and Head Sketch, 1955 Double-sided ballpoint pen drawing on paper. Stamp of the Perrot-Moore collection in the lower right corner. Ink on paper, recto-verso. Stamp of the Perrot-Moore collection lower right. H_20 cm W_24,2 cm Provenance : - Former Perrot-Moore collection - Private collection, Paris Bibliography : Dali in Wien, catalog of the exhibition at the Plais Auersperg, Vienna, March-April 1982 reproduced under the n°118. A certificate of Robert and Nicolas Descharnes dated June 27, 2003 will be given to the purchaser "Salvador's Last Supper differs in many ways from that of Leonardo da Vinci. Certainly the painting is centered on Jesus, just like Leonardo's painting, but we can also see that he insists a little on the number of disciples. This number has remained at twelve, but the fact is that there are many details of the work that repeat this number. The room where the scene takes place has, for example, twelve sides, a dodecahedron. Obviously, since the apostles are twelve. The next point that makes a difference between the two works is that Leonardo da Vinci reproduces this last meal of Jesus as described in the Bible. But with Salvador Dali's version of the Last Supper the extension of the Last Supper in the background reflects the dawn. We will assume that he wanted to give his painting the image of the sacrifice that the son of God made for us. He also stayed in a familiar setting. It is not a blue sky but a background over the sea that we are used to seeing on these paintings."

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Salvador DALI (1904-1989)

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Estim. 400 - 600 EUR

Keller,M.

Estim. 7 000 - 9 000 EUR

Attributed to Sebastiano Ricci, Italian 1654-1726- The Ascension of Christ, an oil sketch; oil on canvas, 74.6 x 62 cm. Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci). Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.

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