Ecce Homo

Details

Paolo Farinati (Verona 1524-1606)
Ecce Homo
with inscription 'Pauolo Farinato f.-'
black chalk, brush and brown wash, heightened with white, on light brown paper, on a late 18th Century English mount
12 3/8 x 17 in. (312 x 432 mm.)

Provenance

P. Lely (L. 2092).
P.H. Lankrink (L. 2090).
J. Gulston? (L. 474).
with W.R. Jeudwine, London, 1954.

Literature

L. Puppi (ed.), Paolo Farinati, Giornale (1573-1606), Florence, 1968, p. 5, note 2.
A. Ballarin, 'Considerazione su una mostra di disegni veronesi del Cinquecento', Arte Veneta, XXV (1971), p. 111.
P. Carpeggiani, 'Paolo Farinati (Verona 1524-1606)' in Maestri della pittura veronese, Verona, 1974, p. 232, fig. 159.
G. Baldissin Molli, 'Paolo Farinati e gli affreschi della chiesa dei Santi Nazaro e Celso a Verona', Arte Veneta, XXXVIII (1984), p. 38 and p. 45, note 38.
S. Marinelli, 'Intorno a Veronese' in Veronese a Verona, Verona, 1988, pp. 346-347.
B.W. Meijer, 'Per la fortuna di Paolo Veronese fino al 1664' in Veronese a Verona, Verona, 1988, p. 110.
H. Sueur, 'Farinati décorateur. Dessins préparatoires aux fresques de la région de Vérone dans les collections du Louvre', La Revue du Louvre et du Musées de France, XXXIX (1989), p. 30 and p. 43, note 12.
T. Mullaly, review of Paolo Farinati..., Verona, 2005-2006, The Burlington Magazine, CXLVIII (2006), p. 59.

Exhibited

London, Royal Academy, Italian Art and Britain, 1960, no. 560. London, Agnew's, Art Historians and Critics as Collectors, 1965, no. 24.
Edinburgh, Merchants' Hall, Italian XVIth Century Drawings from British Private Collections, 1969, no. 35.
Venice, Cini Foundation, Disegni veronesi del Cinquecento, 1971, no. 37.
Verona, Palazzo della Gran Guardia, Cinquant'anni di Pittura Veronese 1580-1630, 1974, no. 58.
Verona, Museo di Castelvecchio, Paolo Farinati, 1524-1606, Dipinti, incisioni e disegni per l'architettura, 2005-2006, no. 153.

Special notice

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

Drawn in preparation for the earliest and most famous of Farinati's paintings of the subject, now in the Museo di Castelvecchio, Verona, which is signed and dated 1562 (Verona, 2005-06, op. cit., no. 187). This close relationship with a dated work makes the drawing an important starting point from which to build a chronology of Farinati's draughtsmanship. The differences between the drawing and the painting, most notable in the arrangement of Pilate's throne, the depth of the crowd, and the addition of a figure to the right and of a distant range of buildings, also give important clues as to the artist's working practice. This large and highly finished drawing may have been a presentation work designed to elicit the patron's approval, but in any event even after this point Farinati continues to play with the composition as he prepares his canvas, a constantly searching approach also taken by contemporary artists such as Barocci.
The composition shows the strong influence of Veronese, perhaps most notably that artist's organ shutters painted for the Church of San Sebastiano, Venice, which date from about the same time (T. Pignatti and F. Pedrocco, Veronese, Florence, 1991, no. 48).

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