Lorenzo Pasinelli (Bologna 1629 – 1700), Sermon of St. John the Baptist

Lorenzo Pasinelli (Bologna, 1629 – 1700)

Preaching of St. John the Baptist

About 1650.

Oil on canvas (115 x 154 cm. – With frame 136 x 174 cm.)

Provenance: Milan, Porro 6 June 2006 oil on canvas, cm. 115×154, lot 67 Estimate 30.000-35.000 euros (link)

Bibliography: F. Moro, Emilia Pittrice: traces of a course of studies, in Emilia Pittrice. Bolognese paintings and drawings of the 2007th century, exhibition catalogue, Paris Galerie Tarantino, 34, pp. 38-25, ill. XNUMX

The canvas examines an episode taken from the Gospel of Luke (3, 1-18) and illustrates the moment in which John the Baptist is busy preaching in the Judean desert, announcing the coming of the Messiah and inviting those present to convert for the forgiveness of their sins.

In a clearing, in the shade of some trees and close to a hilly area along the banks of the Jordan, the young precursor of Christ is seated on a rock in an oratorical position and with a majestic manner, his right arm raised towards the crowd who are listening and wondering about his words.

A powerful figure, with a great emotional impact, who draws crowds to listen to his strong and free word, he is depicted in the act of a solemn gesture, which almost seems to warn the onlookers.

The observer's eye is captured by the multitude of characters that crowd the scene around the evangelist, dressed in the most varied styles, which differentiate the social classes, the professions and the wealth of those present. Fascinating is the detail of some figures portrayed with turbans, which participate in creating an exotic and almost profane vision of the sacred scene.

The canvas was recognized by Dr. Franco Moro as a work by the Bolognese Lorenzo Pasinelli (Bologna, 1629 – 1700) and published by him in his volume 'Emilia Pittrice. Bolognese paintings and drawings of the 2007th century' on the occasion of the exhibition held in Paris at the Galerie Tarantino in 34 (pp. 38-25, ill. XNUMX, see images in the photographic details).

In his in-depth study, Dr. Moro places the execution in Pasinelli's youthful phase, dating it around 1650, when the Bolognese artist's links with his first master, Simone Cantarini (Pesaro, 1612 – Verona, 1648), are more evident. Cantarini in turn trained under the influence of Guido Reni, but with the personal autonomy of a more liquid and loose style, tempered by the severe harshness of the early seventeenth century.

Cantarini's lesson is clearly evident in the style and typologies of the large group of people attending the sermon, characterised by a full-bodied composition and the use of a strongly accentuated chiaroscuro, clearly present in the Jesus entering Jerusalem in the Bolognese church of San Gerolamo della Certosa (https://www.storiaememoriadibologna.it/archivio/opere/lentrata-di-cristo-gerusalemme )

It should also be underlined that the figure of the Baptist is almost certainly inspired by the prototype by Guido Reni from the L. Vitetti Collection, Rome (https://catalogo.fondazionezeri.unibo.it/entry/work/59674/), taken up both in the Saint John Preaching, probably left unfinished by Cantarini (Bologna, Pinacoteca Nazionale, https://catalogo.fondazionezeri.unibo.it/scheda/opera/56939/) and in the Saint John Preaching, painted by Guercino in 1650 for the church of the Rosario in Cento and preserved in the local art gallery (https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/108375 )

Typical of Pasinelli's repertoire are the cloaked female images, depicted with a turban in a liquid brushstroke and warm tones, such as the Sibyl (no. 32, pp. 226-227) or the Fainting of Esther (no. 33, p 228, https://catalogo.fondazionezeri.unibo.it/scheda/fotografia/108402/) and together with the affectionate intimacy between the mother and the child as for the Woman breastfeeding (no. 3, pp. 161-163), for the Madonna with Child and a Saint (no. 8, pp. 6-166) and in the drawings with this theme (pp. 167-176).

Pasinelli returned to the same subject thirty years later, painting a large ''Sermon of the Baptist'' in 1686 for the Prince of Lippe and still in a private collection (C Baroncini, 1993, pp. 281-284), with a looser and more mature style, which nevertheless presents memories and links with the canvas in question, and a more eighteenth-century atmosphere.

ADDITIONAL INFORMATION:

The work sold is complete with a pleasant antique golden frame and is accompanied by a certificate of authenticity and guarantee.

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