24 - Tuscan master; last third of the 17th century.

Tuscan master; last third of the 17th century. “Saint Cecilia.” Oil on canvas. The original canvas is preserved. It bears an illegible inscription in the lower left corner, possibly a signature. Measurements: 71.5 x 56 cm; 90 x 74.5 cm (frame). This painting is modeled after a composition by Onorio Marini, created between 1684 and 1687 and housed at the Statens Museum for Kunst. The work depicts Saint Cecilia, the patron saint of music, identifiable by the organ and the crown of roses that accompany her. Its particular interest lies in the way the artist combines religious painting with the techniques characteristic of Baroque portraiture, endowing the saint with an approachable and deeply human presence. Depicted as a bust, facing the viewer with her head turned slightly, the figure establishes a direct connection with the viewer, following the customary conventions of late 17th-century court portraiture. The artist omits the customary little angel musicians that accompany Saint Cecilia in numerous depictions, focusing all attention on the female figure. Her blonde hair, delicate face, and the monumental quality of the bust stand out against a neutral background of coppery tones, which intensifies the contrast of light and reinforces the subject’s presence. The rendering of the fabrics deserves special mention, with their gold-thread embroidery and the delicate folds of the undershirt—details that reveal an interest in material qualities and ornamental refinement. The result is an image of great elegance, in which holiness is expressed through idealized beauty and an appearance reminiscent of a lady of contemporary society. This interpretation reflects a tradition particularly valued during the Baroque period, in which the figures of saints and martyrs adopted the visual conventions of portraiture to facilitate more immediate identification by the viewer. The combination of religious attributes and techniques typical of portraiture also allows the image to transcend its devotional function and take on the character of a highly distinguished female portrait. Onorio Marinari (Florence, 1627–1716) was an Italian painter of the Florentine Baroque, particularly renowned for his religious compositions and his delicate female figures. The son of the painter Gismondo Marinari, he began his training in his father’s studio before joining the prestigious circle of Carlo Dolci, of whom he became one of the most prominent disciples. He was also influenced by artists such as Baldassare Franceschini, Il Volterrano, Simone Pignoni, and Francesco Furini, as well as by the Italian classicist and colorist tradition. He enjoyed a brilliant career in Florence, where he received major religious commissions and worked for the Medici court, particularly after Carlo Dolci’s death in 1686. In 1679, he was admitted as a member of the Florentine Accademia del Disegno. His works are represented in major international collections and institutions, such as the Uffizi in Florence, the Statens Museum for Kunst, the Wallace Collection, and the Alte Pinakothek. It retains its original fabric.