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拍品专文
Andrea Solario's surviving oeuvre comprises some fifty pictures and twenty drawings. Signed and dated paintings are known from 1495 to 1515, the earliest being a Madonna and Child with Saints of 1495 in the Brera, Milan, that is clearly influenced by Antonello da Messina. After 1495 Solario had established himself as a leading painter in Milan, but in 1507 he was called to France to work at the palace of the Archbishop of Rouen in Normandy. Paintings such as his Salome (Metropolitan Museum of Art, New York) indicate the important role he played in introducing the Renaissance style to France.
There is little stylistic change in Solario's oeuvre, except for an evolution from the sharper precision of his earlier style to a softer, more graceful and naturalistic manner later in his career. His distinctive style combines brilliant color with a sculptural approach that blends the influences of Antonello da Messina and Leonardo da Vinci. Solario's art also shows an understanding of works by the early Flemish masters, whom he could have encountered in Venice, Milan or France, particularly in his mixed use of tempera and oil. Some of his most characteristic works are half-length devotional images of the Virgin, such as the present painting and the Madonna of the green cushion in the Musée du Louvre, Paris, painted circa 1509. These paintings have a sweet grace that is strongly reminiscent of Leonardo. This combination of dramatic gestures and expressions, with a gentle sfumato and strong chiaroscuro, transforms these traditional iconographic types into a new idiom.
The present painting is a version, with significant differences, especially in the background landscape, of the Madonna and Child in the Museo Poldi Pezzoli, Milan (see D.A. Brown, Andrea Solario, 1987, p. 281, no. 60, pl. 172, p. 234). A further version with Saint Roch added to the composition was formerly on loan to the Longyear Historical Society and Museum, Brookline, MA, until sold at Sotheby's, New York, 19 May, 1994, lot 4 ($200,000); and a copy, in reverse, is in the Accademia Carrara, Bergamo (ibid., fig. 174). Brown (ibid., pp. 219-21) notes that these paintings are among Solario's most Correggesque both in composition and technique, and he dates them to circa 1510-15, the likely date of the present, hitherto unpublished, painting. The near identical poses of the Madonna and the Christ Child in the present painting to those in the other versions leads one to believe that Solario must have used the same cartoon for all of them, although in the ex-Longyear painting the Christ Child looks directly at the spectator.
There is little stylistic change in Solario's oeuvre, except for an evolution from the sharper precision of his earlier style to a softer, more graceful and naturalistic manner later in his career. His distinctive style combines brilliant color with a sculptural approach that blends the influences of Antonello da Messina and Leonardo da Vinci. Solario's art also shows an understanding of works by the early Flemish masters, whom he could have encountered in Venice, Milan or France, particularly in his mixed use of tempera and oil. Some of his most characteristic works are half-length devotional images of the Virgin, such as the present painting and the Madonna of the green cushion in the Musée du Louvre, Paris, painted circa 1509. These paintings have a sweet grace that is strongly reminiscent of Leonardo. This combination of dramatic gestures and expressions, with a gentle sfumato and strong chiaroscuro, transforms these traditional iconographic types into a new idiom.
The present painting is a version, with significant differences, especially in the background landscape, of the Madonna and Child in the Museo Poldi Pezzoli, Milan (see D.A. Brown, Andrea Solario, 1987, p. 281, no. 60, pl. 172, p. 234). A further version with Saint Roch added to the composition was formerly on loan to the Longyear Historical Society and Museum, Brookline, MA, until sold at Sotheby's, New York, 19 May, 1994, lot 4 ($200,000); and a copy, in reverse, is in the Accademia Carrara, Bergamo (ibid., fig. 174). Brown (ibid., pp. 219-21) notes that these paintings are among Solario's most Correggesque both in composition and technique, and he dates them to circa 1510-15, the likely date of the present, hitherto unpublished, painting. The near identical poses of the Madonna and the Christ Child in the present painting to those in the other versions leads one to believe that Solario must have used the same cartoon for all of them, although in the ex-Longyear painting the Christ Child looks directly at the spectator.