PARIS BORDONE (TREVISO 1500-1571 VENICE)
PARIS BORDONE (TREVISO 1500-1571 VENICE)
PARIS BORDONE (TREVISO 1500-1571 VENICE)
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PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
PARIS BORDONE (TREVISO 1500-1571 VENICE)

The Madonna and Child with Saint Anthony Abbot and young male donor

细节
PARIS BORDONE (TREVISO 1500-1571 VENICE)
The Madonna and Child with Saint Anthony Abbot and young male donor
signed 'Paris bo / rdon Tarvisinus . f .' (lower right, on the banderole)
oil on panel, transferred to canvas
24 3⁄8 x 32 5⁄8 in. (62 x 83 cm.)
来源
Sir George Warrender of Lochend, 4th Bt. (1782-1849), by 1829; his sale, Christie's, London, 3 June 1837, lot 19 (unsold), and by descent to,
Sir Victor Alexander George Anthony Warrender, 8th Bt., 1st Baron Bruntisfield (1899-1993); Christie's, London, 26 November 1943, lot 2 (480 gns. to Wengraf).
Sir Thomas Barlow (1883-1964), 1946, and by descent.
Anonymous sale [Property from a Private Collection]; Sotheby's, London, 8 December 2011, lot 109, where acquired by the present owner.
出版
C. Phillips, 'Paris Bordone', The Burlington Magazine for Connoisseurs, XXVIII, no. 28, December 1915, pp. 94-8, pl. A.
A. Venturi, Storia dell'Arte Italiana, La Pittura del Cinquecento, Paris Bordon, IX, Part III, Milan, 1928, p. 1032.
B. Berenson, Italian Pictures of the Renaissance, Oxford, 1932, p. 431.
E.K. Waterhouse, 'The Italian Exhibition at Birmingham', exhibition review, The Burlington Magazine, XCVII, no. 630, September 1955, p. 295.
B. Berenson, Italian Pictures of the Renaissance, Venetian School, I, London, 1957, p. 46.
G. Canova, Paris Bordon, Venice, 1964, pp. 6 and 81, fig. 5.
M. Bonicatti, 'Per la formazione di Paris Bordon', Bollettino d'Arte, IV, 1964, III, p. 250.
G. Fossaluzza, 'Qualche Recupero al Catalogo Ritrattistico del Bordon', in Paris Bordon e il Suo Tempo, Treviso, 1987, pp. 191 and 201, note 45.
M. Lucco, 'Venezia, 1500-1540', La pittura nel Veneto: Il Cinquecento, I, Milan, 1996, p. 85.
P. Humfrey et. al., The Age of Titian, Venetian Renaissance Art from Scottish Collections, exhibition catalogue, Edinburgh, 2004, p. 110, under no. 29, fig. 1, and p. 431, note 4.
P. Humfrey, in Bellini, Giorgione, Titian and the Renaissance of Venetian Painting, exhibition catalogue, New Haven and London, 2006, p. 96, under no. 13.
G. Fossaluzza, 'Francesco Frigimelica inconsueto e una "variazione sul tema" da Paris Bordon', Archivio Storico di Belluno Feltre e Cadore, LXXIX, 2008, pp. 181-2, fig. 25.
P. Humfrey, Glasgow Museums: The Italian Paintings, London, 2012, pp. 109-11, under no. 31, fig. 1.
A. Donati, Paris Bordone: catalogo ragionato, Soncino, 2014, pp. 72, 312-3, no. 89, pl. VIII.
展览
London, British Institution, 1831, no. 152.
Birmingham, City of Birmingham Museum and Art Gallery, Italian Art from the 13th Century to the 17th Century, 18 August-2 October 1955, no. 19, lent by Sir Thomas Barlow.
Manchester, City of Manchester Art Gallery, Art Treasures Centenary Exhibition, 30 October-31 December 1957, no. 56, lent by Sir Thomas Barlow.
London, Royal Academy, Italian Art and Britain: Winter Exhibition, 1960, no. 80, lent by Sir Thomas Barlow.

荣誉呈献

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

拍品专文


Dating the works of the Venetian master Paris Bordone has confounded scholars due to the lack of a documented chronology or clear stylistic development; however, it is evident that this painting is a rare survival from the earliest moment of Bordone’s career. In the early twentieth century Sir Claude Phillips wrote ‘I am unable in the life-work of Bordone to point to anything earlier…’ (loc. cit.), Giordana Mariana Canova’s catalogue raisonné places the composition among Bordone’s earliest productions in the 1520s, and Andrea Donati dates the painting to circa 1520 (loc. cit.). Bordone began his artistic career in the workshop of Titian, probably in 1516, and by 1518 their relationship had soured – according to Vasari, the young artist’s uncanny ability to imitate his master caused jealousy and an early end to his apprenticeship (Vite, VII). The present composition is clearly influenced by both Titian and another Venetian master in the young artist’s orbit, Giorgione. The sacre conversazioni, a genre which places the Madonna and Child in arcadian landscapes or architectural fantasies among informal groups of saints and donors, were popularised in Venice at the end of the fifteenth century by Bordone’s predecessors.

Between 1520 and 1530 he experimented with this compositional type, combining Titian-esque landscapes with the soft light and poetic figure groups of Giorgione. Another version of the present composition dated to the same period and signed in the same manner, the Virgin Mary and Child with Saints Jerome and Anthony Abbot and a Donor now in the Glasgow Museums, Scotland, repeats the figural group of Saint Anthony Abbot and donor. The beginnings of Bordone’s mature style, marked by the attention paid to the rich textiles and the graceful elegance of the figures, can be found in the donor’s puffed sleeve and in the lyrical diagonals formed by the figure groups.

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