Old Master Paintings
"Diana, cipuds and little Faun" Charles Joseph Natoire ( 1700 - 1777 )
This oil on canvas painting is attributed to Charles Joseph Natoire. Expertise of Professor Bodart
This painter was considered on a par with François Boucher during his life. During his second Roman period (1751-1775) Natoire was appointed director of the French Academy in Rome.
Alike his master François Lemoyne, Natoire is the painter of grace, pleasure and joie de vivre. His touch of warmness and erotism is too graceful for historic painting and too frivolous for religious genre.
His main masterpieces are "Story of Psyche" for the Hall of the Pricess at Hôtel de Soubise in Paris and "Histoire de Don Quichotte" for the Manifacture of Beauvais, preserved mainly at the Castle of Compiègne.
Natoire's father Florent Natoire, a sculptor, gave him his fundamental training in drawing, then sent him to Paris in 1717 to complete his training, first in the atelier of Louis Galloche (1670-1761), peintre du Roi and professor at the Académie royale de peinture et de sculpture, and then in the atelier of François Lemoyne, whose training shaped Natoire's style.
In 1721 he obtained the Prix de Rome with a Sacrifice of Manoahto obtain a son. On 30 June 1723 he was appointed a pensionnaire at the French Academy in Rome, at the time lodged in the Palazzo Mancini, where he arrived in October. During his stay he executed a copy of Pietro da Cortona's Rape of the Sabine Women. In December 1725 he won a first prize from the Accademia di San Luca with a Moses Returning from Sinai. In 1728 he painted for the French ambassador, the prince de Polignac, an Expulsion of the Money-Changers from the Temple.
In Paris (1730-1751) Natoire returned to Paris via Venice in the early part of 1729. He was received into the Académie royale de peinture et de sculpture on 30 September 1730.
His reputation was quickly established, and he received major commissions. From 1731 to 1740 he provided several suites of canvasses for Philibert Orry, contrôleur général des finances, who was to succeed the duc d'Antin as general director of the Bâtiments du Roi in 1736. For Orry's Château de La Chapelle-Godefroy at Saint-Aubin (Aube) Natoire provided a series of nine canvasses of Histories of the Gods, six more of the History of Clovis, six of a History of Telemachus and four Seasons. During the same period, in 1732 he provided three overdoors on Old Testament subjects for the duc d'Antin in Paris.
In June 1734, Natoire submitted to an Exposition de la Jeunesse in place Dauphine a Galatea. In the same year his first royal commission arrived, for the Chambre de la Reine at Versailles and was made a full member of the Académie on 31 December with a Venus Commanding from Vulcan the Arms of Aeneas. Henceforth, numerous royal commissions came his way for the petits appartements at the Château de Fontainebleau, for the Cabinet du Roi and the royal dining-room at Versailles, decorations for Marly, for the Cabinet des Médailles in the royal library in Paris, and others.
In 1735, Natoire carried out the first of his tapestry cartoons for the series Histoire de Don Quichotte woven at the Manufacture de Beauvais, the first set for the fermier général Pierre Grimod du Fort (1692-1748). In 1737 he received the commission at the Hôtel de Soubise. From 1741, he produced a series of cartoons for the History of Mark Anthony woven at the Gobelins.
In 1747, he painted the portrait of Louis, Dauphin of France. In a more familiar vein, he provided a Saint Stephen and the False Witnesses for the chapelle Saint-Symphorien in the Church of Saint-Germain-des-Prés, 1745. A major loss was his illusionistic decor for the chapel in the Hôpital des Enfants-Trouvés (1746-1750), built by Germain Boffrand but demolished in the 19th century.
In 1747he participated in the competition organized by the new general director of the Bâtiments du Roi, Le Normant de Tournehem, with the Triumph of Bacchus, now in the Musée du Louvre.
Second Roman stay (1751-1777) In 1751, Natoire was appointed director of the French Academy in Rome, a prestigious position, but one that was to set a seal on his active career. Far from court, Natoire witnessed his rivals Carle Van Loo, then François Boucher named premier peintre du Roi in turn. He all but ceased painting, turning his energies instead to the Academy, pressing the pensionnaires to produce the envoies that were forwarded to Paris as proof of their progreess and sending them out to draw in the countryside of the Roman campagna.
He was ennobled in April 1753 and received the Order of Saint-Michel,an honour he had impatiently awaited, but he found himself out of sympathy with the new neoclassical style that was being developed by the Academy's pensionnaires. His own fresco of the Apotheosis of Saint Louis for the French national Church of San Luigi dei Francesi, 1754-1756, came in for criticism.
Natoire's late work, in the two decades that remained to him was largely confined to numerous drawings of the Campagna for his own pleasure, and few canvasses. He became more religious.
In 1767, the architect Adrien Mouton, who had been expelled from the Academy, brought a suit that he won in 1770: Natoire was fined 20,000 livres and court costs with interest, accused of administrative errors. The new general director of the Bâtiments, the comte d'Angiviller retired Natoire from office in June 1775. He withdrew to Castel Gandolfo, where he died.
Bibliography
This painter was considered on a par with François Boucher during his life. During his second Roman period (1751-1775) Natoire was appointed director of the French Academy in Rome.
Alike his master François Lemoyne, Natoire is the painter of grace, pleasure and joie de vivre. His touch of warmness and erotism is too graceful for historic painting and too frivolous for religious genre.
His main masterpieces are "Story of Psyche" for the Hall of the Pricess at Hôtel de Soubise in Paris and "Histoire de Don Quichotte" for the Manifacture of Beauvais, preserved mainly at the Castle of Compiègne.
Natoire's father Florent Natoire, a sculptor, gave him his fundamental training in drawing, then sent him to Paris in 1717 to complete his training, first in the atelier of Louis Galloche (1670-1761), peintre du Roi and professor at the Académie royale de peinture et de sculpture, and then in the atelier of François Lemoyne, whose training shaped Natoire's style.
In 1721 he obtained the Prix de Rome with a Sacrifice of Manoahto obtain a son. On 30 June 1723 he was appointed a pensionnaire at the French Academy in Rome, at the time lodged in the Palazzo Mancini, where he arrived in October. During his stay he executed a copy of Pietro da Cortona's Rape of the Sabine Women. In December 1725 he won a first prize from the Accademia di San Luca with a Moses Returning from Sinai. In 1728 he painted for the French ambassador, the prince de Polignac, an Expulsion of the Money-Changers from the Temple.
In Paris (1730-1751) Natoire returned to Paris via Venice in the early part of 1729. He was received into the Académie royale de peinture et de sculpture on 30 September 1730.
His reputation was quickly established, and he received major commissions. From 1731 to 1740 he provided several suites of canvasses for Philibert Orry, contrôleur général des finances, who was to succeed the duc d'Antin as general director of the Bâtiments du Roi in 1736. For Orry's Château de La Chapelle-Godefroy at Saint-Aubin (Aube) Natoire provided a series of nine canvasses of Histories of the Gods, six more of the History of Clovis, six of a History of Telemachus and four Seasons. During the same period, in 1732 he provided three overdoors on Old Testament subjects for the duc d'Antin in Paris.
In June 1734, Natoire submitted to an Exposition de la Jeunesse in place Dauphine a Galatea. In the same year his first royal commission arrived, for the Chambre de la Reine at Versailles and was made a full member of the Académie on 31 December with a Venus Commanding from Vulcan the Arms of Aeneas. Henceforth, numerous royal commissions came his way for the petits appartements at the Château de Fontainebleau, for the Cabinet du Roi and the royal dining-room at Versailles, decorations for Marly, for the Cabinet des Médailles in the royal library in Paris, and others.
In 1735, Natoire carried out the first of his tapestry cartoons for the series Histoire de Don Quichotte woven at the Manufacture de Beauvais, the first set for the fermier général Pierre Grimod du Fort (1692-1748). In 1737 he received the commission at the Hôtel de Soubise. From 1741, he produced a series of cartoons for the History of Mark Anthony woven at the Gobelins.
In 1747, he painted the portrait of Louis, Dauphin of France. In a more familiar vein, he provided a Saint Stephen and the False Witnesses for the chapelle Saint-Symphorien in the Church of Saint-Germain-des-Prés, 1745. A major loss was his illusionistic decor for the chapel in the Hôpital des Enfants-Trouvés (1746-1750), built by Germain Boffrand but demolished in the 19th century.
In 1747he participated in the competition organized by the new general director of the Bâtiments du Roi, Le Normant de Tournehem, with the Triumph of Bacchus, now in the Musée du Louvre.
Second Roman stay (1751-1777) In 1751, Natoire was appointed director of the French Academy in Rome, a prestigious position, but one that was to set a seal on his active career. Far from court, Natoire witnessed his rivals Carle Van Loo, then François Boucher named premier peintre du Roi in turn. He all but ceased painting, turning his energies instead to the Academy, pressing the pensionnaires to produce the envoies that were forwarded to Paris as proof of their progreess and sending them out to draw in the countryside of the Roman campagna.
He was ennobled in April 1753 and received the Order of Saint-Michel,an honour he had impatiently awaited, but he found himself out of sympathy with the new neoclassical style that was being developed by the Academy's pensionnaires. His own fresco of the Apotheosis of Saint Louis for the French national Church of San Luigi dei Francesi, 1754-1756, came in for criticism.
Natoire's late work, in the two decades that remained to him was largely confined to numerous drawings of the Campagna for his own pleasure, and few canvasses. He became more religious.
In 1767, the architect Adrien Mouton, who had been expelled from the Academy, brought a suit that he won in 1770: Natoire was fined 20,000 livres and court costs with interest, accused of administrative errors. The new general director of the Bâtiments, the comte d'Angiviller retired Natoire from office in June 1775. He withdrew to Castel Gandolfo, where he died.
Bibliography
- Wikipedia- Enciclopedia online
- Charles-Joseph Natoire, catalogue d'exposition, mars-juin 1977, Musées d'Art et d'Histoire de la Ville de Nîmes éd., réimpr. 1987 – ISBN 2-902309-44-9
The Madonna with Baby Jesus and St. John
Gian Pietro Rizzoli called "Giampietrino" The Madonna with Baby Jesus and Little St. John
This painting representing the Madonna with Baby Jesus and Little St. John is attributed to Gian Pietro Rizzoli, called Giampietrino, active from 1500 till 1549.
Painting in wood was transferred to the canvas
Expertise with a letter of Professor Emilio Negro.
This painting is published in the annotated catalogue of the exhibition "Leonardo e il rinascimento fantastico", organized by the Professors A. Tomei, M.C.Paoluzzi and N. Barbatelli, who confirmed the attrubution to Gian Pietro Rizzoli, called Giampietrino.
Dimensions: cm 37,5 x 45,5 without frame.
Reference: S 003
Price: Please contact us
The letter of Professor Negro:
This unique painting represents one of the most warmly supported christian iconographic themes, which is represented fallowing an ancient composition with the Virgine and the Baby Jesus in the centre of the composition. They are the protagonosts of the devotional representation (so called "sacred conversations"), where Jesus is hit in a tender gesture towards his cousin John, which helps him to wrap a snow-white linen cloth, while Mary watches them with admiration, reclining her head softly.
From the stylistic point of view, the painting show evident influences of Leonardo and Lombard culture of the first half of the XVI century, although not separated from a clear classic spirit. The said feature permits to identify its author: a talented painter Giovanni Pietro Rizzoli, called Giampietrino (Milan, active between 1495 and1549 approx.), of which there are no exact information about his painting education. Notwithstanding this, it is appropriate to remember that Leonardo mentions certain "Gian Pietro", his trusted pupil, on a page of "Atlantic Code", written between 1497 and 1500, whom the critics identify with Giampietrino. The relation between this name and a particular group of coherent works of art, confirmed by ancient inventories, goes to age-old storiographyc tradition. Despite this, the altar piece representing the Madonna with Baby Jesus and Saints Jerom and John the Baptist (Pavia, Curia Vescovile, ex-Chirch of S. Marino) is only an example of this painting corpus, in which a tight bond to the world of Leonardo's art is definitely clear, and it has a clear date: 1521. Starting from the mentioned year there were deducted tight contacts with the refined culture of the sphere of Cesare da Sesto and Bernardino Luini, which confirm active participation of Giampietrino in the best Milanese fine arts culture of the Renaissance.
In order to prove the offered attribution of this Madonna with the Baby Jesus and Little St. John, originally painted on wood, it is necessary to compare it with other works of art of this Milanese artist: a special reference should be made to Didone and Sofonisba (Isola Borromeo, collection Borromeo), to Cleopatra (Paris, Musée du Louvre) and to Magdalene praying inb front of the Cross (Milan, Brera Picture Gallery).
In comparison with the mentioned works of art and fallowing stylistic features permit to place probably our Madonna with the Baby Jesus and Little St John between the paintings which the Lombard artist performed in the moment when his art directed its attention to more sophisticated artistic synthesis, without abandoning nor typically Lombard taste of naturalistic description, nor typically classic composition, which are the main features of Giovanni Pietro Rizzoli, called Giampietrino.
This painting representing the Madonna with Baby Jesus and Little St. John is attributed to Gian Pietro Rizzoli, called Giampietrino, active from 1500 till 1549.
Painting in wood was transferred to the canvas
Expertise with a letter of Professor Emilio Negro.
This painting is published in the annotated catalogue of the exhibition "Leonardo e il rinascimento fantastico", organized by the Professors A. Tomei, M.C.Paoluzzi and N. Barbatelli, who confirmed the attrubution to Gian Pietro Rizzoli, called Giampietrino.
Dimensions: cm 37,5 x 45,5 without frame.
Reference: S 003
Price: Please contact us
The letter of Professor Negro:
This unique painting represents one of the most warmly supported christian iconographic themes, which is represented fallowing an ancient composition with the Virgine and the Baby Jesus in the centre of the composition. They are the protagonosts of the devotional representation (so called "sacred conversations"), where Jesus is hit in a tender gesture towards his cousin John, which helps him to wrap a snow-white linen cloth, while Mary watches them with admiration, reclining her head softly.
From the stylistic point of view, the painting show evident influences of Leonardo and Lombard culture of the first half of the XVI century, although not separated from a clear classic spirit. The said feature permits to identify its author: a talented painter Giovanni Pietro Rizzoli, called Giampietrino (Milan, active between 1495 and1549 approx.), of which there are no exact information about his painting education. Notwithstanding this, it is appropriate to remember that Leonardo mentions certain "Gian Pietro", his trusted pupil, on a page of "Atlantic Code", written between 1497 and 1500, whom the critics identify with Giampietrino. The relation between this name and a particular group of coherent works of art, confirmed by ancient inventories, goes to age-old storiographyc tradition. Despite this, the altar piece representing the Madonna with Baby Jesus and Saints Jerom and John the Baptist (Pavia, Curia Vescovile, ex-Chirch of S. Marino) is only an example of this painting corpus, in which a tight bond to the world of Leonardo's art is definitely clear, and it has a clear date: 1521. Starting from the mentioned year there were deducted tight contacts with the refined culture of the sphere of Cesare da Sesto and Bernardino Luini, which confirm active participation of Giampietrino in the best Milanese fine arts culture of the Renaissance.
In order to prove the offered attribution of this Madonna with the Baby Jesus and Little St. John, originally painted on wood, it is necessary to compare it with other works of art of this Milanese artist: a special reference should be made to Didone and Sofonisba (Isola Borromeo, collection Borromeo), to Cleopatra (Paris, Musée du Louvre) and to Magdalene praying inb front of the Cross (Milan, Brera Picture Gallery).
In comparison with the mentioned works of art and fallowing stylistic features permit to place probably our Madonna with the Baby Jesus and Little St John between the paintings which the Lombard artist performed in the moment when his art directed its attention to more sophisticated artistic synthesis, without abandoning nor typically Lombard taste of naturalistic description, nor typically classic composition, which are the main features of Giovanni Pietro Rizzoli, called Giampietrino.
The Madonna with
Baby Jesus and Little St. John attributed to Giampietrino is published in the annotated catalogue of the exhibition "Leonardo e il rinascimento fantastico", organized by the Professors A. Tomei, M.C.Paoluzzi and N. Barbatelli, who confirm the attrubution
Baby Jesus and Little St. John attributed to Giampietrino is published in the annotated catalogue of the exhibition "Leonardo e il rinascimento fantastico", organized by the Professors A. Tomei, M.C.Paoluzzi and N. Barbatelli, who confirm the attrubution
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Italian Landscape attributed to Pieter MULIER,
called Cavalier Tempesta
This is an oil on canvas painting representing a view of Italian countryside, which is considered one of the masterpieces of Peter Mulier (Haarlem, 1637 - Milan, 1701), called Tempesta, or Cavalier Tempesta, an Italianized Flemish painter, active in Rome since 1668. The painting's dimensions correspond to the great works of art of Isolabella. (see also "Tempesta and his time")
Expertise of Professor Didier Bodart.
Dimensions: cm 145 x 187
Reference: pa 018
Price: Please contact us
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