Saint Sebastian, Giovanni Antonio Bazzi, Known As Sodoma (vercelli 1477 – Siena 1549) Follower

Giovanni Antonio Bazzi, known as Sodoma (Vercelli 1477 – Siena 1549)
Follower of

Saint Sebastian

Oil on canvas (94 x 67 cm. - In frame 114 x 87 cm. )

Full details of the work (click HERE)

The painting in question depicts an intense portrait of Saint Sebastian immortalised at the moment of his martyrdom, following his death sentence imposed by Diocletian. The evident quality of the painting and its defining stylistic features suggest that it was painted by a talented Tuscan painter of the early 17th century, close to the circle of the master Giovanni Antonio Bazzi (Vercelli 1477 – Siena 1549).

Giovanni Antonio Bazzi, known as Sodoma, was one of the most original painters of the 16th century: he was born in Vercelli, trained in the workshop of Giovanni Martino Spanzotti, then moved to Milan at a young age where he met the Leonardeschi and finally, around 1501, arrived in Siena, which became his adopted city and where he spent most of his career.

He was a highly talented artist with a very distinctive painting style, who was able to blend the influence of Leonardo with the Sienese school and early Mannerism. Here, our author has skilfully reproduced his style, especially his strong realism and pathos, which would become one of the most characteristic elements of his stylistic imprint.

The attention to realistic features and emotions, the skilful use of light and shadow, the profound knowledge and reworking of Italian Renaissance painting models are the characteristics we find in our beautiful Saint Sebastian.

The scene, faithful to classical iconography, depicts him tied to a tree and pierced by two arrows, one near his neck and one in his chest. The expression on his face is highly emotive, with his eyes open and looking upwards and his lips slightly parted.

The saint is idealised in youthful beauty, which reveals his state of ecstasy, conveying to the viewer an example of absolute devotion and faith: his representation transcends physical pain and elevates him to a figure of spiritual triumph.

We can find clear points of contact with “The Martyrdom of Saint Sebastian”, painted by Giovanni Antonio Bazzi around 1525 and now in Florence in the Uffizi Collection (https://www.uffizi.it/opere/stendardo-san-sebastiano).

The debt that our artist owes to Sodoma's work is evident at first glance, drawing on the same luminous and chromatic modelling of the figure. As in Sodoma's Saint Sebastian, in our case too, the protagonist is portrayed in the foreground with luminous and delicately chiaroscuro painting.

He also borrows the beam of light (in our painting, the angel offering the crown of martyrdom does not appear) towards which the saint's gaze is directed and which at the same time illuminates his complexion.

Giovanni Antonio Bazzi, known as Sodoma (1477–1549)
Oil on canvas, 206 × 154 cm. Uffizi Gallery, Florence
https://www.uffizi.it/opere/stendardo-san-sebastiano

ADDITIONAL INFORMATION:

The painting is sold complete with an attractive frame and comes with a certificate of authenticity and a descriptive iconographic card.

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