Francesco Trevisani* (1656-1746)

The Three Marys

细节

Francesco Trevisani* (1656-1746)
The Three Marys
signed (?) with initials 'FT'
oil on canvas
48 x 53in. (123 x 136cm.)

来源

Cardinal Ottoboni, by 1698.
Lord Arundell, Wardour, for whom purchased by Father Thorpe in 1776, and by descent.
Society of Jesus, by whom purchased in 1947 from the above.
with Colnaghi's, London, 1971, from whom purchased by the present owner.

出版

L. Pascoli, Francesco Trevisani, Mss. 1383, pp. 91, 98v and 100.
F. DiFederico, Documentation for Francesco Trevisani's Decoration for the Vestibule of the Baptismal Chapel in Saint Peters, in Storia dell'arte, VI, 1970, pp. 155-74.
F. DiFederico, Francesco Trevisani and the decoration of the Crucifixion Chapel in San Silvestro in Capite, Art Bulletin, LIII, No. 1, March 1971, pp. 52-68.
F. DiFederico, Francesco Trevisani, Eighteenth-Century Painter in Rome, 1979, p. 44-5, no. 25, pl. 21.
E.J. Olszewski, Cardinal Pietro Ottoboni (1667-1740) in America, Journal of the History of Collection, I, no. 1, 1980, pp. 42-5, fig. 14.
The Painters in Cardinal Pietro Ottoboni's Court of the Cancelleria, 1689-1740, Rimischen Jahsbuch der Bibliotheca Hertziana, XXXII, 1997, fig. 10.

拍品专文

From the time he was made a Cardinal in 1689, aged 22, to his death in 1740, Cardinal Ottoboni was the most enlightened and extravagant patron of art in Rome. Described by Francis Haskell as 'by far the most cultivated papal-nephew since Francesco Barberini' (see F. Haskell, Patrons and Painters, Art and Society in Italy, 1980, p. 164) the artist whom he patronised with the greatest enthusiasm was his fellow Venetian, Francesco Trevisani, who arrived in Rome circa 1682. At the time of his death, Ottoboni had assembled a collection of more than 500 paintings, sculptures, tapestries and medals including those that he had inherited from his great-uncle, Pope Alexander VIII, all of which were dispersed by family members to pay his debts of more than 170,000 scudi.
Pascoli (op. cit.) documented both the present painting and its pendant, The Dead Christ mourned by Angels, in the Stanford University Museum of Art, California as being painted for Ottoboni and in his collection by 1698. Although records locate Trevisani as working in the cardinal's palace by this date, it was not until 1705 that he became an official member of the court (see E.J. Olszewski, op. cit., pp. 42-3). F. DiFederico (op. cit., 1979, p. 45) supports a date of 1698 and places both paintings on thematic and stylistic grounds to the period just after the decorations of the Chapel of the Crucifixion in S. Silvestro in Capite.