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Lot Essay
Stories from the life of the 4th century B.C. Cynic philosopher Diogenes relate to his teaching which centers on the rejection of all conventional desires for wealth, power and possessions in favor of a simple life of Virtue. The scene depicted here, as told by his Greek biographer Diogenes Laërtius, shows the philosopher in a pink robe near the center of the composition gesturing as he casts his cup aside upon seeing a child (the young man kneeling) who needs not even a cup, but instead drinks from a fountain with his hands.
This episode from ancient history gives Panini the opportunity to display his skills as a painter. The elegantly drawn figures gather in groups on either side of a fountain, which is placed at the center of the composition. They are almost incidental, however, beside the colossal columns and portico made up by the artist to frame the scene. Antique sculpture -- Hercules and the Hydra, the Farnese Hercules, and the Farnese Flora are placed within the scene and serve as a link between the life and action of the figures and the inanimate materials of the architecture. The Colosseum and Column of Trajan can be seen in the background to complete the composition and may have been favorite monuments of the patron that commissioned the work.
The prime verion of this composition by Panini is the Ashmolean Museum, Oxford (F. Arisi, Gian Paolo Panini e I fasti della Roma del '700, Rome, 1986, p. 415, no. 369). In addition, preparatory works for the this composition include a study for the female figure standing to the right of the fountain and holding a pail (Vienna, Albertina) and a drawing of the courtyard of the Palazzo Farnese in Rome showing the Hercules and Flora sculptures (Paris, Baroni collection).
David R. Marshall, from a photograph, suggests that the present picture is likely a second version of the Ashmolean painting, possibly with some assistance from the studio (private communication, 13 December 2010).
Ferdinando Arisi has confirmed the attribution to Panini, on the basis of photographs (written communication with a previous owner, 29 July (1994). He states that the picture is 'of the best quality in all respects'.
This episode from ancient history gives Panini the opportunity to display his skills as a painter. The elegantly drawn figures gather in groups on either side of a fountain, which is placed at the center of the composition. They are almost incidental, however, beside the colossal columns and portico made up by the artist to frame the scene. Antique sculpture -- Hercules and the Hydra, the Farnese Hercules, and the Farnese Flora are placed within the scene and serve as a link between the life and action of the figures and the inanimate materials of the architecture. The Colosseum and Column of Trajan can be seen in the background to complete the composition and may have been favorite monuments of the patron that commissioned the work.
The prime verion of this composition by Panini is the Ashmolean Museum, Oxford (F. Arisi, Gian Paolo Panini e I fasti della Roma del '700, Rome, 1986, p. 415, no. 369). In addition, preparatory works for the this composition include a study for the female figure standing to the right of the fountain and holding a pail (Vienna, Albertina) and a drawing of the courtyard of the Palazzo Farnese in Rome showing the Hercules and Flora sculptures (Paris, Baroni collection).
David R. Marshall, from a photograph, suggests that the present picture is likely a second version of the Ashmolean painting, possibly with some assistance from the studio (private communication, 13 December 2010).
Ferdinando Arisi has confirmed the attribution to Panini, on the basis of photographs (written communication with a previous owner, 29 July (1994). He states that the picture is 'of the best quality in all respects'.