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Saint Catherine Antiveduto Grammatica (rome 1569 – 1626) Workshop
Saint Catherine
Antiveduto Grammatica (Rome 1569 – 1626) Workshop
Oil on canvas
Early 17th century
Canvas cm. 76 x 64
Frame cm. 96 x 84
Excellent condition
This magnificent depiction of Saint Catherine, sumptuously dressed in a pink velvet and gold brocade damask dress, is attributed to the renowned Roman Baroque master Antiveduto Grammatica and his workshop. The artist's pictorial skill is evident in presenting the Saint in attire distinguished by the elegance and refinement of its execution. The rendering of volume is remarkable, with a marked use of light and shadow that highlights the folds of her clothing and the movements of her hands. The Saint's face recalls the facial typology used by Domenichino, a frequent visitor to Grammatica's Roman workshop, as well as Caravaggio. The figure, in a solemn and majestic pose, stands out against the dark background and is illuminated by the light coming from the left, which meets the gaze of the noble protagonist. The artist prefers to associate the saint with the iconographic attribute of the sword with which the martyr was beheaded rather than the more commonly depicted wheel of martyrdom, helping to create a more important, almost regal image of Saint Catherine.
The painting has been perfectly relined and is in excellent condition, complete with a splendid, finely carved and gilded frame.
Antiveduto Grammatica (Rome 1569 – 1626) Workshop
Oil on canvas
Early 17th century
Canvas cm. 76 x 64
Frame cm. 96 x 84
Excellent condition
This magnificent depiction of Saint Catherine, sumptuously dressed in a pink velvet and gold brocade damask dress, is attributed to the renowned Roman Baroque master Antiveduto Grammatica and his workshop. The artist's pictorial skill is evident in presenting the Saint in attire distinguished by the elegance and refinement of its execution. The rendering of volume is remarkable, with a marked use of light and shadow that highlights the folds of her clothing and the movements of her hands. The Saint's face recalls the facial typology used by Domenichino, a frequent visitor to Grammatica's Roman workshop, as well as Caravaggio. The figure, in a solemn and majestic pose, stands out against the dark background and is illuminated by the light coming from the left, which meets the gaze of the noble protagonist. The artist prefers to associate the saint with the iconographic attribute of the sword with which the martyr was beheaded rather than the more commonly depicted wheel of martyrdom, helping to create a more important, almost regal image of Saint Catherine.
The painting has been perfectly relined and is in excellent condition, complete with a splendid, finely carved and gilded frame.
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