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Lot Essay
We are grateful to Professor Sergio Marinelli for the attribution, given after inspection in the original.
Orazio Farinati was an engraver and painter like his father, Paolo. They worked closely together until Paolo's death in 1606, with Orazio often adopting motifs from his father's work. Orazio painted altarpieces for churches in Verona: amongst them is one for the church of S. Bartolomeo Della Levata, now in Castelvecchio, signed and dated 1606. He also collaborated with his father and brother painting frescos for Veronese villas. When Paolo started working on slate in the 1590s, Orazio followed suit soon after. Themes from the Crucifixion such as the Deposition, the Lamentation and the Entombment were particularly suited to the medium of slate, allowing Orazio to exploit the qualities of the support fully and thus evoke a tenebrous, yet luminous, setting.
For an example of The Entombment, also on slate, see that sold, Sotheby's, London, 26 April 2001, lot 41 (£9,000).
Orazio Farinati was an engraver and painter like his father, Paolo. They worked closely together until Paolo's death in 1606, with Orazio often adopting motifs from his father's work. Orazio painted altarpieces for churches in Verona: amongst them is one for the church of S. Bartolomeo Della Levata, now in Castelvecchio, signed and dated 1606. He also collaborated with his father and brother painting frescos for Veronese villas. When Paolo started working on slate in the 1590s, Orazio followed suit soon after. Themes from the Crucifixion such as the Deposition, the Lamentation and the Entombment were particularly suited to the medium of slate, allowing Orazio to exploit the qualities of the support fully and thus evoke a tenebrous, yet luminous, setting.
For an example of The Entombment, also on slate, see that sold, Sotheby's, London, 26 April 2001, lot 41 (£9,000).