Description
François-Xavier FABRE (1766-1837). Christ the Redeemer. Canvas mounted on mahogany panel. Signed on the left: fx Fabre 1800. Height 58 - Width 45.4 cm Provenance: Countess of Albany collection, bequeathed by her to the Princesse de Mérode, sent by Fabre to the Princesse de Mérode in 1824. Bought by a Belgian collector from the convent of the missionary fathers of Louvain in 1981, then collection of Laure Pellicer, art history professor and co-editor of the catalog François-Xavier Fabre: de Florence à Montpellier, author of a doctoral thesis on the painter. Bibliography: exhibition catalog "François-Xavier Fabre (1766-1837) de Florence à Montpellier, Montpellier, Musée Fabre, 2008, p.236-237, cat. no. 103 (repr.) Benjamin Couilleaux, Peintures italiennes du musée Fabre catalog raisonné, Milan, Silvana Editoriale, 2020, p.246. Expert: Cabinet Turquin, Mr. Stéphane Pinta. Fabre's move to Florence in 1793 was a great success, both artistically and financially. He was recognized as a history painter and portraitist, and his income was combined with an activity as an art dealer. On the other hand, the year 1799, during which France and Tuscany were at war, was more uncertain. With fewer commissions, he began thinking about several religious subjects: Christ chasing the merchants out of the Temple, Christ and the adulteress, Healing the blind man (drawings in the Musée Fabre), all of which he abandoned following Napoleon's victory and the establishment of the Kingdom of Etruria (1801 - 1807). Foreigners returned to Florence, and Fabre was increasingly active. Originally conceived by the artist as a study head for one of his multi-figure religious compositions religious compositions, our canvas was eventually adapted into an independent painting, as evidenced by the completion of the cruciform nimbus painted in fine gold, and presented to his companion, the countess d'Albany. Here, Fabre offers a synthesis of his Davidian apprenticeship and the classical work of Nicolas Poussin. Nicolas Poussin, whose prints he began collecting at this time (as indicated by Madame d'Albany's letter of Madame d'Albany's letter of March 1, 1800), as well as the Salvador Mundi attributed to Carlo Dolci and works donated by Guido Reni.
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François-Xavier FABRE (1766-1837). Christ the Redeemer. Canvas mounted on mahogany panel. Signed on the left: fx Fabre 1800. Height 58 - Width 45.4 cm Provenance: Countess of Albany collection, bequeathed by her to the Princesse de Mérode, sent by Fabre to the Princesse de Mérode in 1824. Bought by a Belgian collector from the convent of the missionary fathers of Louvain in 1981, then collection of Laure Pellicer, art history professor and co-editor of the catalog François-Xavier Fabre: de Florence à Montpellier, author of a doctoral thesis on the painter. Bibliography: exhibition catalog "François-Xavier Fabre (1766-1837) de Florence à Montpellier, Montpellier, Musée Fabre, 2008, p.236-237, cat. no. 103 (repr.) Benjamin Couilleaux, Peintures italiennes du musée Fabre catalog raisonné, Milan, Silvana Editoriale, 2020, p.246. Expert: Cabinet Turquin, Mr. Stéphane Pinta. Fabre's move to Florence in 1793 was a great success, both artistically and financially. He was recognized as a history painter and portraitist, and his income was combined with an activity as an art dealer. On the other hand, the year 1799, during which France and Tuscany were at war, was more uncertain. With fewer commissions, he began thinking about several religious subjects: Christ chasing the merchants out of the Temple, Christ and the adulteress, Healing the blind man (drawings in the Musée Fabre), all of which he abandoned following Napoleon's victory and the establishment of the Kingdom of Etruria (1801 - 1807). Foreigners returned to Florence, and Fabre was increasingly active. Originally conceived by the artist as a study head for one of his multi-figure religious compositions religious compositions, our canvas was eventually adapted into an independent painting, as evidenced by the completion of the cruciform nimbus painted in fine gold, and presented to his companion, the countess d'Albany. Here, Fabre offers a synthesis of his Davidian apprenticeship and the classical work of Nicolas Poussin. Nicolas Poussin, whose prints he began collecting at this time (as indicated by Madame d'Albany's letter of Madame d'Albany's letter of March 1, 1800), as well as the Salvador Mundi attributed to Carlo Dolci and works donated by Guido Reni.
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