Domenico Cresti (Il Passignano): Cain e Abel
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Domenico Cresti (Il Passignano): Cain e Abel
Image: via @alanspazzaliartist
Bathers at San Niccolò on the Arno (1600) by Domenico Cresti, called Passignano (1559-1638).
Question:
Is the provenance and chain of authenticity of this work assured?
It ‘feels’ too modern, the spirit of the renaissance notwithstanding.
Answer:
(Courtesy @ganymedesrocks )
Authenticity?
It is believed that this work moved rapidly into the collections of Marchese Filippo Niccolini (1655-1738) who was the third Marquis of Ponsacco and Camugliano. Not only did this family gain from alliances with the House of Medici but also from those with many well-heeled families such as the Riccardis, the Da Filicaias and others in the great cities of Florence, Sienna, Lucca, Pisa and the like. Alas, from the era of the 8th Marquis, the family saw the economic ruin of the house. The Niccolinis were forced to sell their very rich artistic collections and dispose of the palace in Via Dei Servi. The next generation, however, rebuilt and created new alliances, meaning that many artists in their collections remained with the family until the 1950's at which time paintings such this one found collectors in England. Based on this evidence, the work’s chain of authenticity is ‘assured’.
Modern ‘Feel’?
This work is less one of the Renaissance, than the Baroque. It forms part of the Mannerist movement that took place at the very end of the Renaissance. This means there is far greater ‘enlightenment’ and ‘liberalization’ in the manner by which the senses are expressed in painting and art.
Domenico Cresti detto il Passignano, San Sebastiano condotto al sepolcro (1602), Museo Nazionale di Capodimonte, Napoli.
Domenico Cresti, called Passignano, Nude, Naked, Kneeling, Shoulders to the Ground
Paris, Musée du Louvre
via: alain truong
Passignano sul Trasimeno
| ♛ | Red roofs of Passignano - Umbria, Italy | By @edivad_92 / yallersitalia
Passignano sul trasimeno