Master of the Herds (active in the mid-17th century), Saint John the Baptist in the desert

Master of the Herds (active in the mid-17th century)

Saint John the Baptist in the desert

Oil on canvas, 172 x 123 cm

Criticism sheet Prof. Massimo Pulini

Occupying the entire surface of the canvas is the long-limbed and screwed figure of Saint John the Baptist, singularly depicted as a young adult man. His gaze is directed towards an indefinite point and with one hand, the one holding the stick with the usual scroll attributed to the saint, he indicates a ram. Little can be seen of the landscape: only a few branches under which San Giovanni is seated and a glimpse of the night sky which allows us to recreate intense chiaroscuro contrasts.

The painting refers to the second generation of Caravaggio painters, and in particular to an artist for whom there are no biographical indications and whose name is even less known. In fact, for a long time the artistic personality in question was confused with that of Tommaso Salini (Rome, 1575 – 1625) and therefore called Pseudo Salini, once the extraneousness of some paintings with those of the Roman artist was recognized. Subsequently, further names were proposed: Master of the Lampronti Flagellation, Master of Baranello, Master of the Herds. The latter is perhaps the most appropriate as it is able to reveal the continuity of the known production of this emblematic figure, i.e. the almost constant presence of farmyard or stable animals. Sometimes the human figures and the herds are executed by different hands: in some works, in fact, the hand of Jacob van der Kerckhoven or Giacomo Castello (c. 1636-1712) has been recognised, a collaboration which allows the period of activity to be limited even of the Master of the Herds. Stylistically the Maestro degli Armenti shows influences of Roman culture but rather than the aforementioned Salini with whom he was confused, he seems to be influenced by the knowledge of Gregorio Preti (Taverna 1603 – Rome 1672). An affinity that is revealed in the construction of the bodies which seem to be the result of a mental reconstruction rather than from the taking of models from life, Gregorio's own executive method. The belonging of the Saint John the Baptist under analysis to the corpus of the Master of the Herds is demonstrated by the comparison with the series of works attributed to him such as Musical Shepherd and Animals from a Private Collection, Shepherd with Dogs and Flasks and Woman with Poultry, formerly a private collection, or even the Liberation of Saint Peter from the Prado Museum and the Sacrifice of Isaac and Liberation of Saint Peter from a private collection. The Crowning with Thorns, formerly Rome, Galleria Lampronti, sees in the figure of the henchman a certain resemblance to Saint John, especially due to the singular mustaches that frame the upper lips of the two figures. Indicatively, the painting can be dated around the XNUMXs. 

The object is in good condition

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