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拍品专文
We are grateful to Professor Alberto Cottino for confirming the attribution on the basis of photographs.
Relatively little is known about the life of Michele Desubleo or 'Michael de Sobleò Pictor Belgicus', as he is mentioned in his will. His oeuvre has only been recently rediscovered, after centuries of obscurity, mainly due to the ignorance on the part of the early biographers. It is possible that he was trained by Abraham Janssens in Antwerp, together with his half-brother Nicolas Régnier. It has been suggested that afterwards he could have joined Nicolas in Rome. He was certainly in Bologna by the beginning of the 1630s, where he seems to have found work in Guido Reni's flourishing studio. It was probably in Rome that he first encountered the work of Reni, and the time spent in his studio gave him the opportunity to fully absorb his brand of Classicism. It was during these years that Desubleo developed his own style, which reveals a distinctive and personal response to the art of Reni. Enriched by this Bolognese experience, he is thought to have travelled to Florence. Several paintings by him remain in Florentine collections, notably the beautiful Tancredi and Erminia in the Uffizi, painted in Bologna in 1641, for the Florentine, Lorenzo de' Medici.
Desubleo taught in the Accademia founded in 1646 by Count Ettore Ghislieri. His illustrious colleagues there were Albani, Guercino, Tiarini. The demise of the Accademia in 1652, as well as the growing celebrity of Guercino, may well explain his move to Venice, where his half-brother was living and where he remained until about 1663. His Classicism, however, did not find favour in the Laguna, and he painted mostly for provincial or old Emilian patrons. He was briefly in Milan after 1663, before settling in Parma, maybe to be closer to his niece, Lucrezia Régnier. The last ten years of his career in Parma were very fruitful and dominated by a renewed interest in Reni's tradition, enriched by the French influences probably absorbed in Venice. Desubleo's masterpiece, the Thriumph of Sacred Love on Profane Love, was painted at this time, and is considered by Professor Cottino to be one of the chef-d'oeuvre of late 17th century Classicism (private collection; see A. Cottino, Michele Desubleo, Soncino, 2001, pp. 28 and 83, pl. XXXII).
Relatively little is known about the life of Michele Desubleo or 'Michael de Sobleò Pictor Belgicus', as he is mentioned in his will. His oeuvre has only been recently rediscovered, after centuries of obscurity, mainly due to the ignorance on the part of the early biographers. It is possible that he was trained by Abraham Janssens in Antwerp, together with his half-brother Nicolas Régnier. It has been suggested that afterwards he could have joined Nicolas in Rome. He was certainly in Bologna by the beginning of the 1630s, where he seems to have found work in Guido Reni's flourishing studio. It was probably in Rome that he first encountered the work of Reni, and the time spent in his studio gave him the opportunity to fully absorb his brand of Classicism. It was during these years that Desubleo developed his own style, which reveals a distinctive and personal response to the art of Reni. Enriched by this Bolognese experience, he is thought to have travelled to Florence. Several paintings by him remain in Florentine collections, notably the beautiful Tancredi and Erminia in the Uffizi, painted in Bologna in 1641, for the Florentine, Lorenzo de' Medici.
Desubleo taught in the Accademia founded in 1646 by Count Ettore Ghislieri. His illustrious colleagues there were Albani, Guercino, Tiarini. The demise of the Accademia in 1652, as well as the growing celebrity of Guercino, may well explain his move to Venice, where his half-brother was living and where he remained until about 1663. His Classicism, however, did not find favour in the Laguna, and he painted mostly for provincial or old Emilian patrons. He was briefly in Milan after 1663, before settling in Parma, maybe to be closer to his niece, Lucrezia Régnier. The last ten years of his career in Parma were very fruitful and dominated by a renewed interest in Reni's tradition, enriched by the French influences probably absorbed in Venice. Desubleo's masterpiece, the Thriumph of Sacred Love on Profane Love, was painted at this time, and is considered by Professor Cottino to be one of the chef-d'oeuvre of late 17th century Classicism (private collection; see A. Cottino, Michele Desubleo, Soncino, 2001, pp. 28 and 83, pl. XXXII).