Description

Jacopo Robusti, genannt „Il Tintoretto“, 1518 Venedig – 1594, zugeschrieben

STANDARD BEARER IN ARMOR WITH LATERAL HALF-LENGTH FIGURES Oil on canvas. Old doubling. 243 x 141 cm. Enclosed is an expertise by Prof. Lino Moretti, Venice, 19.08.1996, as well as an expertise by Prof. Dr. Knubben, Cologne, 1995 with laboratory report. Also enclosed is an appraisal by Antonio Paolucci, Vatican Museum, and two letters confirming Tintoretto's authorship. Furthermore, proof of the 1878 auction by Prof. E.A. Donadini, Dresden, the purchaser of the painting at the time. The painting's considerable size indicates that it is a large fragment of an even larger former altarpiece. The flag bearer shown here in the center of the painting as a preserved detail is probably the figure positioned to the side of an overall picture, the subject of which has not been clearly clarified. The main figure dominates the picture field and is shown kneeling from behind, his posture strongly rotated - in keeping with the Mannerist style of the "figura serpentinata". The left arm is raised and holds the red flag fabric, while the flagpole forms a diagonal parallel to the posture of the upper body, with a counter-movement of the left upper arm and the light-colored sash tied around the waist. A lower leg and a forearm with a grasping hand protrude into the picture from the right edge, with a female and a male head above it. The background of the upper part of the picture shows billowing clouds. Since the accompanying side heads are looking to the left, the center of the former overall picture can probably be assumed to be there. This results in a former overall size of the altarpiece of three times the current width of the canvas. The head of a bearded man can be seen on the left edge of the painting, looking upwards to the left. In the previous discussions of the painting, which are presented here in the appendix, the view that it is the portrait of Titian, with whom Tintoretto had also studied, cannot be dismissed, as Carlo Ridolfi reported as early as 1642. However, Ridolfi also noted that Titian had "thrown the pupil out" after just ten days and had obstructed him for the rest of his life out of jealousy. This would call the thesis into question, unless further findings were to allow the interpretation again, as the Ridolfi text source, like so many other contemporary reports, must be judged with extreme caution. There are difficulties in identifying the subject of the painting as a whole. Lino Moretti put forward the thesis that this is the "finding of the true cross", according to the text by Jacopo da Voragine (1228-1298) in his Legenda Aurea. However, this is by no means convincing, as no depiction of the finding of the cross shows a standard-bearer. The reference to Titian's altarpiece of the Pesaro family, 1519, in the Marienkirche dei Frari is far more appropriate. There, an armored man also carries a red flag. It is probably to be understood in the context of the Turkish wars, as in the present painting. A Marian theme would therefore be the most likely, as Mary was venerated as the "savior" in these wars. For comparison with works by Tintoretto, in with an armored knight or standard-bearer: "Portrait of a Thirty-Year-Old Warrior Kunsthistorisches Museum Vienna, Collection Archduke Leopold Wilhelm, (Inv. No. 338.) Also: "St. Demetrius with Zuan Pietro Ghisi" (Venice, in the church of San Felice, Ghisi Chapel) - there the armored man with banner. The drapery of the banner is comparable to that in the portrait by Jacopo Sorranse, Galleria dell'Accademia Venezia. The former destination of the large altarpiece is probably a church in or outside Venice. Only very few documents have survived. This is due to the fact that the furnishings were removed from numerous churches during the Napoleonic era, some of which were even destroyed. As the archiving domain office ceased its activities in 1830, source documents on the sale of works of art are only preserved in the archives from 1855 onwards. Both the overall design and the painting style and brushwork clearly show the high quality of Tintoretto's early painting, who, together with Paolo Veronese and Titian, was one of the triumvirate of Venetian Renaissance painting. A.R. Annotation: The painting was submitted to the Archivio di Stato, Venezia, on February 17, 2023, with the reply that the painting was known there. A comparable work in state ownership: "Demanio b 1013". On 19 February 2023, the work was presented to the "Casa del Tintoretto Fondamento dei Mori", where President Sgr. Roberto Mazzotto recognized it as being by the hand of Tintoretto and added to the archive with a photo. Documents relating to the present painting can be found there. Lit

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

184 
Go to lot
<
>

Jacopo Robusti, genannt „Il Tintoretto“, 1518 Venedig – 1594, zugeschrieben

Estimate 150 000 - 250 000 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 32.5 %
Leave bid
Register

For sale on Thursday 27 Jun : 10:00 (CEST)
munich, Germany
Hampel
+4989.288.041.70
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.