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Lot Essay
El descubrimiento de esta pintura, nunca publicada, supone un importante aportacin a la obra de Leandro Bassano, con quien estuvo ligado en sus ltimos trabajos. No conocemos otra crucifixin de Leandro en formato horinzontal, aunque la figura de Cristo es muy prxima a los altares de la Trinidad de Leandro, en las iglesias de San Jun y San Pablo de Venecia y la iglesia de san Francisco de Cortula (Corzola) (A. Arsa Arslan, I Bassano, Milan, n.d., II, pls. 279 y 277 respectivamente, el primero firmado): existe una relacin ms lejana con la figura de Cristo en la Crucifixin de Bonn, nmero 5A (Arslan, il. 246, como Jean Battista de Ponte (?), B Berenson, Italian pictures of the Renaissance, Venetian School, London 1957, I, p. 22 como Leandro), en la que aparece una Magdalena similar. Arslan fecha el altar veneciano circa 1590-5 y esta pintura que ofrecemos puede fecharse en torno al mismo perido.
This unpublished picture is a significant addition to the oeuvre of Leandro Bassano, the most individual of the sons of Jacopo Bassano, to whose later work he was directly indebted. No other Crucifixion of horizontal format by Leandro is known, but the figure of Christ corresponds closely with that in two altarpieces of the Trinity by Leandro, respectively in the church of S. Giovanni e Paolo, Venice, and in the Franciscan church at Cortula (Corzola) (A. Arslan, I Bassano, Milan, n.d., II, pls. 279 and 277 respectively, the first signed): there is a less direct relation with the figure of Christ in a Crucifixion at Bonn, no. 5A (Arslan, pl. 246, as Giambattista da Ponte (?). B. Berenson, Italian Pictures of the Renaissance, Venetian School, London, 1957, I, p. 22 as Leandro), in which a Magdalen of similar design is also introduced. Arslan dates the Venetian altarpiece circa 1590-5, and the present canvas may well be of similar date.
This unpublished picture is a significant addition to the oeuvre of Leandro Bassano, the most individual of the sons of Jacopo Bassano, to whose later work he was directly indebted. No other Crucifixion of horizontal format by Leandro is known, but the figure of Christ corresponds closely with that in two altarpieces of the Trinity by Leandro, respectively in the church of S. Giovanni e Paolo, Venice, and in the Franciscan church at Cortula (Corzola) (A. Arslan, I Bassano, Milan, n.d., II, pls. 279 and 277 respectively, the first signed): there is a less direct relation with the figure of Christ in a Crucifixion at Bonn, no. 5A (Arslan, pl. 246, as Giambattista da Ponte (?). B. Berenson, Italian Pictures of the Renaissance, Venetian School, London, 1957, I, p. 22 as Leandro), in which a Magdalen of similar design is also introduced. Arslan dates the Venetian altarpiece circa 1590-5, and the present canvas may well be of similar date.