Lot Essay
Bernardo Strozzi was a principal figure in the development of painting in seventeenth century Genoa and Venice. He was born in Genoa, where he trained with the Sienese painter, Pietro Sorri, before becoming a Capuchin monk at the monastery at Santa Barnaba in 1598. Granted a leave from his monastic duties in 1610, Strozzi devoted himself entirely to painting in the manner of the Tuscan and Milanese Mannerists. Around 1620 he was introduced to Caravaggio's theatrical naturalism, which he appropriated alongside Mannerist artifice and grace. By 1631 Strozzi was working in Venice, where he adopted a more brilliant palette in response to the paintings of Veronese. 'Il prete Genovese', Strozzi's nickname in Venice, would remain an active member of La Serenissima's artistic community until his death in 1644.
Strozzi is best known for his religious pictures, genre scenes and portraits, all of which were equally vivified by the artist's broad, expressive brushstrokes and rich coloring. The present, bust-length portrait falls within the three classes of heads commonly painted in the seventeenth century, namely young boys, saints and bearded old men (philosopher types). Philosopher portraits were loosely based either on living models or on the painter's imagination. However, unlike a study for a series of apostles, the present work lacks any telling attributes such as books or swords, suggesting the picture's vital role as a character study.
Strozzi is best known for his religious pictures, genre scenes and portraits, all of which were equally vivified by the artist's broad, expressive brushstrokes and rich coloring. The present, bust-length portrait falls within the three classes of heads commonly painted in the seventeenth century, namely young boys, saints and bearded old men (philosopher types). Philosopher portraits were loosely based either on living models or on the painter's imagination. However, unlike a study for a series of apostles, the present work lacks any telling attributes such as books or swords, suggesting the picture's vital role as a character study.