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Lot Essay
Dr. Stella Rudolph dates this painting to an early moment in the artist’s career, in the 1650s, and points out that it may be the picture seen by the English artist, collector and writer Jonathan Richardson in the Fraula collection in Brussels in 1722 (op. cit.). A second, smaller autograph version of this composition was also thought to have been part of the Fraula collection (Christie’s, New York, 27 January 2000, lot 35). The two paintings differ stylistically and this version, with its rapid brushwork and several pentimenti, precedes chronologically the one sold New York. Professor Francesco Petrucci (op. cit.) suggests that the present picture could be the painting formerly in the de La Roque collection in Paris. If this is the case, it is possible that it was painted for a French patron, as it does not feature in any 17th or 18th century Italian inventories. Maratti was in fact very active for French patrons living in Rome at a very early stage of his career. The painting may then have been taken to England in the middle of the 18th century, and offered for sale in London.
Although there are no preparatory drawings by Maratti which relate to this painting, Rudolph has identified a number of studies by his best pupil Giacinto Calandrucci (Madrid, Real Academia de Bellas Artes de San Fernando) that have some connection with the composition.
According to Ovid’s Metamorphoses the beautiful nymph Arethusa was surprised and pursued by the river god Alpheus, while bathing in a clear stream. Diana took pity on her and hid her in a cloud, but succumbing to Alpheus’ persistence, she finally changed Arethusa into a spring that flowed underground and emerged at Ortygia, the small island that is the historical centre of the city of Syracuse in Sicily.
We are grateful to Dr. Stella Rudolph for confirming the attribution after inspection of the original, and for tentatively suggesting the early provenance. We are also grateful to Professor Petrucci for his suggestions with regards to the provenance.
Although there are no preparatory drawings by Maratti which relate to this painting, Rudolph has identified a number of studies by his best pupil Giacinto Calandrucci (Madrid, Real Academia de Bellas Artes de San Fernando) that have some connection with the composition.
According to Ovid’s Metamorphoses the beautiful nymph Arethusa was surprised and pursued by the river god Alpheus, while bathing in a clear stream. Diana took pity on her and hid her in a cloud, but succumbing to Alpheus’ persistence, she finally changed Arethusa into a spring that flowed underground and emerged at Ortygia, the small island that is the historical centre of the city of Syracuse in Sicily.
We are grateful to Dr. Stella Rudolph for confirming the attribution after inspection of the original, and for tentatively suggesting the early provenance. We are also grateful to Professor Petrucci for his suggestions with regards to the provenance.