St. John the Baptist, Florentine painter 16th – 17th century

Florentine painter, 16th – 17th century

St. John Baptist

Oil on canvas (67 x 56 cm. – In frame 98 x 83 cm.)

Full details of the work (click HERE)

In bringing out the sculptural figure of this young Saint John the Baptist, bathed in a powerful and enveloping light, our author seems to have referred directly to the Gospel of John, which outlines the role of the Baptist as a prophet and precursor of Jesus Christ:
“There was a man sent from God, whose name was John…to bear witness to the light. He himself was not the light, but came to bear witness to the light.” (Jn 1:6-8)

Aware of this mission, the Saint is depicted illuminated by a beam of light coming from a gap in the clouds, wrapped in the traditional camelskin robe and a bright red cloak; in one hand he holds the traditional staff made from two reeds to form a crucifix, alluding to Christ's sacrifice on the cross.

The work can be traced back to an artist active between the 16th and 17th centuries in Florence, where the figurative tradition has always dedicated great space to this subject, patron of the city and protector of various guilds of arts and crafts.

Although his interpretation is very personal, we can easily identify the models of derivation and, in particular, limit its provenance to the school of Andrea del Sarto (Florence 1486 – 1530), drawing the closest points of contact with the series of Saints portrayed by the painter in half-length.

Among these is the portrait of the young John the Baptist by Andrea del Sarto, now at the Worcester Art Museum (Massachusetts), but above all, as regards the rendering of the facial and body features, we can take as a comparison the Saint Sebastian, in particular the copy at the Musée des Beaux-Arts de Caen in France (1).

(1) (Andrea del Sarto (follower) – Saint Sebastian holding two arrows and the palm of martyrdom (detail) – Musée des Beaux-Arts de Caen (Reference 06570005015) LINK

In this last painting, we find the beautiful head of the boy, with his gaze fixed upwards on which a flowing curly hair stands out, and his lean but harmonious, almost ephebic nude, with that proud and at the same time nonchalant posture that evokes the impression of Raphael's David.

Although it is not easy to identify the hand of a particular artist within the master's prolific school, the painting in question occupies a place of great importance for its noble Florentine workmanship, which is embodied in the certainty of the drawing, the mastery of the anatomical structure, the plasticity of the figure and the delicate vagueness of the saint's expression, which make it a very interesting work.

ADDITIONAL INFORMATION:

Good condition, complete with gilded and lacquered frame.

The work is sold complete with a certificate of authenticity and a descriptive iconographic sheet.

We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works.

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