Saint Anthony The Abbot, Signed And Dated By Pietro Bardellino (naples, 1732–1806), 18th Century
Artist: Pietro Bardellino (napoli 1732-1806)
Thisbeautiful and refined painting, of the highest quality, depicts Saint Anthony the Abbot inmeditation, with his head resting on his left hand and his right armoutstretched over a book.
The almost empty space above serves as a distant echo of thebackgrounds that Caravaggio devised for his large canvases from his Neapolitan periodonward. The twist of the torso is beautiful; as it twists upon itself, it reveals thepainter’s Baroque roots.
The saint’s gaze rests resolutely, as if in an actof defiance, upon the skull resting on his legs, in an attitude offearless meditation on death: two cherubs peek out from behindthe Cross in the upper left, as if to soften the scene.
Beneath theCross, coals are burning, as St. Anthony was credited withmiraculous powers regarding Herpes Zoster, which took its name from him as the "Fire ofSt. Anthony."
The work, signed and dated in the lower right corner on the rockbeneath the hand: BARDELLINO 1791, is a masterpiece from the mature period of PIETRO BARDELLINO.
He was born in Naples in 1731. Appointed a member of the Academy ofFine Arts in 1773, where he was invited by Luigi Vanvitelli, in 1779 he wasappointed master of the Royal Academy of Drawing and Painting.
In his paintings,he remained faithful to the Neapolitan tradition, adopting more austere colors andatmospheres echoing Caravaggism, as in the painting of the Madonna betweenSaints Francis and Anthony, in the Confraternity of the Whites of the Holy Spirit, inthe later painting depicting the Death of St. Clare in the church of the same name, and in the twopaintings for the Church of Regina Coeli, featuring Esther and Ahasuerus (now at the Museum of St.Martin in Naples) and the Baptism of St. Augustine.
In the Old Apartmentof the Royal Palace of Caserta, seven canvases by Bardellino can be seen,depicting Science and the Arts, Peace and War, Innocence, Simplicity, Truth,Day, and Night—fine examples of the harmony and pictorial vigorcharacteristic of his style.
In 1803, he was entrusted with the School of the Nude atthe Academy: this position was reconfirmed by the Napoleonic government in 1806,the year of his death.
Dimensions:
103.5x76 cm (without frame)
123x96 cm (with antique frame)
ADDITIONAL INFORMATION:
The work is sold with a certificate of authenticity and warranty.
We handle and arrange the shipping of purchased works, both within Italyand abroad, via professional and insured couriers.
There are no additional costs if the work is picked up directlyby the buyer at the gallery.
For shipments outside of Italy, estimated delivery timesare a minimum of 15 days, which may vary depending on the exportpermit.
You may view the item at our gallery in Orzinuovi (BS), wherewe will be delighted to welcome you and show you our collections.
We are at your complete disposal, including by phone, at the following numbers:
+39 340 217 2217
+39 340 241 7919
FOLLOW US ON INSTAGRAM: https://www.instagram.com/barbierifineart/
The almost empty space above serves as a distant echo of thebackgrounds that Caravaggio devised for his large canvases from his Neapolitan periodonward. The twist of the torso is beautiful; as it twists upon itself, it reveals thepainter’s Baroque roots.
The saint’s gaze rests resolutely, as if in an actof defiance, upon the skull resting on his legs, in an attitude offearless meditation on death: two cherubs peek out from behindthe Cross in the upper left, as if to soften the scene.
Beneath theCross, coals are burning, as St. Anthony was credited withmiraculous powers regarding Herpes Zoster, which took its name from him as the "Fire ofSt. Anthony."
The work, signed and dated in the lower right corner on the rockbeneath the hand: BARDELLINO 1791, is a masterpiece from the mature period of PIETRO BARDELLINO.
He was born in Naples in 1731. Appointed a member of the Academy ofFine Arts in 1773, where he was invited by Luigi Vanvitelli, in 1779 he wasappointed master of the Royal Academy of Drawing and Painting.
In his paintings,he remained faithful to the Neapolitan tradition, adopting more austere colors andatmospheres echoing Caravaggism, as in the painting of the Madonna betweenSaints Francis and Anthony, in the Confraternity of the Whites of the Holy Spirit, inthe later painting depicting the Death of St. Clare in the church of the same name, and in the twopaintings for the Church of Regina Coeli, featuring Esther and Ahasuerus (now at the Museum of St.Martin in Naples) and the Baptism of St. Augustine.
In the Old Apartmentof the Royal Palace of Caserta, seven canvases by Bardellino can be seen,depicting Science and the Arts, Peace and War, Innocence, Simplicity, Truth,Day, and Night—fine examples of the harmony and pictorial vigorcharacteristic of his style.
In 1803, he was entrusted with the School of the Nude atthe Academy: this position was reconfirmed by the Napoleonic government in 1806,the year of his death.
Dimensions:
103.5x76 cm (without frame)
123x96 cm (with antique frame)
ADDITIONAL INFORMATION:
The work is sold with a certificate of authenticity and warranty.
We handle and arrange the shipping of purchased works, both within Italyand abroad, via professional and insured couriers.
There are no additional costs if the work is picked up directlyby the buyer at the gallery.
For shipments outside of Italy, estimated delivery timesare a minimum of 15 days, which may vary depending on the exportpermit.
You may view the item at our gallery in Orzinuovi (BS), wherewe will be delighted to welcome you and show you our collections.
We are at your complete disposal, including by phone, at the following numbers:
+39 340 217 2217
+39 340 241 7919
FOLLOW US ON INSTAGRAM: https://www.instagram.com/barbierifineart/
9 000 €
Period: 18th century
Style: Other Style
Condition: Good condition
Material: Oil painting
Width: 96
Height: 123
Reference (ID): 1755940
Availability: In stock
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