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Biagio Castilletti (1966 circa) Biagio Castilletti (1966 circa) Roma panoramica, 2007 Acrilico su tela 40 x 40 cm Firma: "Biagio Castilletti” sul lato del telaio e sul verso Data: “2007” sul verso Altre iscrizioni: “‘Roma panoramica’” sul verso Provenienza: Veneto Banca SpA in LCA Stato di conservazione. Supporto: 95% Stato di conservazione. Superficie: 95%

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Biagio Castilletti (1966 circa) Biagio Castilletti (1966 circa) Roma panoramica, 2007 Acrilico su tela 40 x 40 cm Firma: "Biagio Castilletti” sul lato del telaio e sul verso Data: “2007” sul verso Altre iscrizioni: “‘Roma panoramica’” sul verso Provenienza: Veneto Banca SpA in LCA Stato di conservazione. Supporto: 95% Stato di conservazione. Superficie: 95%

Estimate 100 - 150 EUR
Starting price 75 EUR

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For sale on Wednesday 17 Jul : 15:00 (CEST)
rome, Italy
Bonino
+393461299980

Exhibition of lots
samedi 13 juillet - 11:00/18:00, Bonino - Nord Est
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Biagio Betti (1535-1605) - Jesus tried before the Sanhedrin cm 66 x106 Oil on canvas Unframed. Biagio Betti a pupil of Daniele Da Volterra, a lay friar of the Theatine order. Eclectic personality was in contact with the Roman artistic world but also beyond the Alps. He knew the engravings of Durer by whom he was influenced in his compositions. Stylistically he represents a late Roman Mannerism of the latter part of the 1500s. ASOR Studio Expert opinion by Professor Claudio Strinati Biagio Betti (Cutigliano c. 1545 - Rome 1615) Jesus interrogated in the Sanhedrin (oil on canvas 64 x 104 cm) The painting depicts the crucial moment in the story of Christ's Passion when the Redeemer is taken, after the Capture in the Garden of Gethsemane, to the Sanhedrin, that is, the Jewish Tribunal administered by the Sadducees and Pharisees to be interrogated about his alleged faults and subsequently condemned even though the actual condemnation was pronounced by Pilate. The scene is executed, in our painting, with remarkable skill and pictorial refinement with an impeccable style that is rigorous in its perspective definition and somewhat synthetic and compendious in the figures, as if the author of the 'work was primarily a specialized miniaturist such that he lavished all his doctrine in the analytical definition of the images accentuating their different states of mind, from the sorrowful sadness of Christ to the bureaucratic arrogance of the great priests who appear very numerous in the painting and were in fact, according to ancient sources, about seventy and all very fierce. Our painting, precisely for strictly stylistic reasons, seems to be dated to the end of the sixteenth century and to be framed precisely in that environment of miniature culture that had notable Italian and Flemish exponents at that time. Prominent among them was a painter who was also an eminent religious, the Theatine father Biagio Betti, of whom Giovanni Baglione wrote an exhaustive and learned biography, qualifying him as a cultured, authoritative personality, very influential in the debate on religious art and a skilled painter, sculptor and miniaturist himself. In that biography (published in his book Le Vite de' pittori, scultori e architetti, Roma 1642 (now in the modern edition edited by Barbara Agosti and Patrizia Tosini, Officina Libraria 2023, vol 1, p.632 ff.) the theological intent is evident and primarily doctrinal of the works executed by the Theatine painter, but with a formidable attention to the paintings' intrinsic quality and iconographic originality. Of the works cited by the Baglione few survive today, but enough survive to attribute to Biagio Betti the painting under consideration here. In fact, in the church of San Silvestro al Quirinale in Rome is preserved a large canvas, certainly autographed by this artist depicting The Dispute of Jesus with the Doctors (a subject similar, though different, to that of the work here which, unlike our painting, is a true altarpiece exemplified, iconographically speaking, on the Dürer prints much studied and known in Betti's time. And similar is the setting of our painting attributable, therefore, to the Betti with foundation also through a direct comparison with the Disputa cited above, which denotes a similar "Nordic" style though on a monumental scale, while our painting is, as noted, absolutely miniature. Moreover, Baglione clearly says that the painter Biagio Betti, "was likewise an illuminator and in parchment paper and in every other thing exquisitely colored." This seems to be the case with our painting, a most notable example of a painting-miniature of great intrinsic significance and fine quality of drafting, which is still clearly perceptible today despite some conservation problems that the work must have had but which do not in the least harm the appreciation and consequent critical judgment. I think it possible that this painting of ours was executed in conjunction with the jubilee celebrations of the year 1600 when Father Biagio Betti was at the height of his parabola and fame as an influential miniaturist and painter. A painting, therefore, remarkable on the historical artistic level and also on the doctrinal one, to which I attribute a conspicuous value of E. 25,000.00 In faith, Claudio Strinati