A drawing whichcan be dated slightly later (1533-4 of the Head of the Virgin(Musée du Louvre, Département des Arts Graphiques, inv. ) layer of overpaint has been brushedcarefully over the blue veil, in order to darken it. LOT 510PIETRO BUONACCORSI, CALLED PERINO DEL VAGAFLORENCE 1501 - 1547 ROMEJUPITER AND JUNO RECLINING IN AN ALCOVE ATTENDED BY AMORINI, TWOOTHERS HOLDING A HERALDIC SHIELD BELOWPen and a dark shade of brown ink and brown and gray washheightened with white (oxidized), squared with a stylus600,000—800,000 USDmeasurements note435 by 404 mm; 17 1/8 by 15 7/8 in Possibly Roberto Canonici, Ferrara; Sir Thomas Lawrence (L.2445); Samuel Woodburn,his sale, London, Christie's, Catalogue of... No specificauthor for the iconographic program has yet been identified, butaccording to Vasari both Andrea Doria and Perino worked indeveloping the required scheme.This has beenextremely carefully done, so as not to disturb the original giltdecoration along the border or the stella maris symbol ather shoulder. First attributed to Perino by Frizzoni in 1912, subsequentscholars dated the tondo to Perino's early career until Davidson noted similarities with figures in the Sala Paolina(1545). Drawings formerly inthe Collection of the Late Sir Thomas Lawrence.., 4 June 1860, lot604 (as Luca Penni), bought by Ripp; John Barnard (L.1419 on the mount and backing; L.1420 on thebacking), his mount and attribution in pen and brown ink partlyreinforced by another hand: Giovanni Francesco Penni.; on thebacking in pen and brown ink his numbering 838 and the measurements17 by 15 3/4, and his inscription: called il Fattore; of Florence,a Disciple of Raffaelle. Great attention was devoted tolavish furnishings especially in the two main saloni dirappresentanza: La Sala di Giove and La Sala di Nettuno.She holds out to him with one hand a cherry (a symbol of thefruit of Paradise, and thus of man's original sin and ultimateredemption), and steadies him with her other.She is simplydressed, in the orthodox manner: a red robe with a long blue mantleover her head.2 Perino, however, gives her a slighttouch of fashion; she wears a small gem at her breast which gathersher tunic into graceful folds, and a beautifully rendered head of acherub in gold hangs along her neckline.
The Victoria Holy Family has been dated later still, and would appear torepresent the final assay in the subject, having been producedtowards the end of Perino's life, according to Jaffe, circa 1545/6, a view supported by Parma Armani.6 The present Holy Family uses many of the samecompositional devices that Perino employs in these other pictures. 125 (entry by Dominique Cordellier), reproduced; Tapestry in the Renaissance: Art and Magnificence, exhib. 158This is a rediscovered preparatory modello , the only oneknown to have survived, for the important and renowned series oftapestries, the Furti di Giove, commissioned by Andrea Doriafrom Perino del Vaga.It isconceived with much more balance and restraint, and theclassicizing influence of Raphael seems much stronger, as in theother panels where it seems to grow ever so slightly removed. The last major picture to be offered on the open market was The Holy Family offered on the London art market with Hazlitt in1965, and was acquired for the Australian National Gallery (seenote).2. Tancred Borenius; Sir Robert Mond Some original drawings by ancient and modern artists of variousschools, remaining in the collection of J. The design and decorationof both the interiors and exteriors were entrusted to Perino del Vaga, who according to Vasari arrived in Genoa in 1528 after the Sack of Rome, at the suggestion of Nicola Valentini.1Perino, a pupil of Ridolfo Ghirlandaio in Florence and then one ofthe most gifted of Raphael's assistants, had been responsible in Rome for many important fresco decorations, starting with the Vatican Logge.Itwould seem, therefore, that this Holy Family should date tocirca 1527-30, either just before he left Rome, or justafter he moved to Genoa to work for Andrea Doria. Examination of the painting itself reveals that a slightly later(17th Century? Heseltine,his sale, London, Sotheby's, , lot 146 (as G. The purpose of the various decorations outside and inside thepalace was to celebrate Andrea Doria's role in Genoa as its firstcitizen under the patronage of Emperor Charles V.Ultimately, all of them owe much to theinfluence of the late Raphael, with whom as a very young man Perinohad worked in Rome on the Vatican Loggie and whose Madonnas(and those of his direct circle) the artist would have known onlytoo well. Davidson, 'I Furti di Giove' Tapestries Designed by Perino del Vaga for Andrea Doria', The Art Bulletin, vol. It was to become one of the most elaborate and sumptuous ofthe Italian Renaissance palaces, and totally unique in Genoa,conceived to display the power and lavish tastes of the Doriafamily.The present panel, however, differs in tone and characterin a number of ways than these other Perino Madonne . Andrea Doria devoted great efforts and attention to thebuilding and embellishment of his palace.
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The strongly modeled and composed image of the Mother and Child isbalanced with a tender interaction between them; the brooding darkbackground contrasts with strong splashes of color in his figures. 437, note80; Perino del Vaga tra Raffaello e Michelangelo, exhib. cat., New York, The Metropolitan Museum of Art, 2002, p. Doria (1466-1560) was a Genoesecondottiero who in 1528 formed a fruitful and lastingrelationship with Emperor Charles V, commanding several importantexpeditions for him, including the ones against the Turks.