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Felice Ficherelli (Italian, 1605-1660)

Saint Sebastian Tended by Saint Irene, ca. 1650

Virgen y mártir en Egipto. Para saber más de ella: www.preguntasantoral.es/2010/11/santa-catalina-de-alejand...

Lienzo de Michelangelo Merisi "il Caravaggio". Museo Thyssen Bornemisza, Madrid (España).

 

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Saint Catherine of Alexandria, virgin and martyr in Egypt. Painting by Michelangelo Merisi "il Caravaggio". Museum Thyssen Bornemisza, Madrid (Spain).

The Crocker Art Museum Presents Italian Baroque Masterpieces

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Felice Ficherelli

Jael killing Sisera [1616]

Florence Palazzo Palatina

(1603–1660)

 

.oil on canvas.

Height: 1,447 mm (56.97 in). Width: 1,901 mm (74.84 in)..

 

Auckland Art Gallery

Of all the recently proposed paintings destined to enlarge the body of Vermeer's so-called youthful period, this one is the most questionable. It has a checkered history. Discovered in 1943 in a small New York auction room by a couple of Belgian refugees, the late Jacob Reder and his wife, it was for a long time turned down by all Vermeer specialists. Jacob Reder, who dabbled in the Old Masters trade long before coming to America, was well known as an eccentric with a powerful imagination. After his death, the painting was acquired from his widow by a New York (now Los Angeles) dealer. From there, it passed into the collection of the current owner.

 

The painting is probably an Italianizing copy after a minor Florentine artist. Some connoisseurs believe that this copy was executed by an Italian in his customary technique. Others are inclined to admit that the painting could have been done by a northern artist, in close imitation of the Florentine original. The latter exists: it is by Felice Ficherelli (1605-69?) and belongs to a private collector in Ferrara. In any case, it is a mediocre painting. The main difference from the Florentine original is the cross in the hands of the saint, which was probably added at the request of a convent or church that had commissioned the work.

 

An attribution to Vermeer finds its sole basis in the two signatures; because neither style nor pictorial quality is anywhere close to the artistic level of Vermeer. It is extremely important to remember in this context, that false Vermeer signatures occur often and were probably affixed sometime during the eighteenth or nineteenth century. If such an inscription is two hundred years old, as compared with the age of roughly three hundred years for the painting, the period when it was painted becomes almost impossible to prove either way by so-called scientific methods.

  

Title: Notizie de' professori del disegno da Cimabue in qua : per le quali si dimostra come, e per chi le bell' arti di pittura, scultura, e architettura lasciata la rozzezza delle maniere greca, e gottica, si siano in questi secoli ridotte all' antica loro perfezione

Identifier: gri_notiziedepro03bald

Year: 1681 (1680s)

Authors: Baldinucci, Filippo, 1625-1696 Baldinucci, Francesco Saverio, 1662-1738 Rotari, Pietro, 1707-1762 Franchi, Santi, 17th/18th cent Matini, Piero, fl. 1684-1700 Manni, Giuseppe Stamperia di S.A.R. (Florence, Italy) Accademia della Crusca

Subjects: Artists Art, Italian

Publisher: In Firenze : Per Santi Franchi [et al.]

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

tefte : econdufle le fue pitture con gran diligenza eltudio: e benché talvolta deflea quelle alcuni vivi refleifii non tolfe loro però la foniiglianza del natura-le ; ina gli diede con ciò una certa grazia e vaghezza particolare . Refta-rono dopo fua morte due fuoi fratelli, Vincenzio il foprannominato, eOttaviano: e quelli fu padre di Pietro {a) Dandini, il quale avendo in fanciul-lezza attefo alla pittura appreflò a Vincenzio fuo zio, non fu prima giuntoalletà di diciotto anni, che me(Te in pubblico opere belle di fua mano: edavendo poi fatti grandi (ludj in Roma, in Venezia, e per la Lombardia,ed acquiftata una franchezza di pennello, quafi impareggiabile, con altreottime qualità dellarte, ha dato e dà tuttavia sì gran faggio di fuo valore,che a noi porgerà ancora a fuo tempo aflai materia di parlar di lui e dellebelle opere fue. (a) Piero Dandini morì V anno 1712 « loffio Ottaviano , e Vincenzio , oggi Gejuita,fuoi figliuoli, buoni profeffori ambedue di pittura. FELICE

 

Text Appearing After Image:

FELICE FICHERELLI DETTO FELICE RIPOSOPITTOR FIORENTINO ■ Difcepolo di Jacopo da Empoli, nato circa al 1605. jfa 1660. |E3ice Ficherelli nacque in SanGimignano, antichifiìma Terradi Valdelfa, di parenti molto onorati e civili. Fino dallapiù tenera età fi condune a Firenze, quanto privo di affi*ftenza e davere, altrettanto provvido di genio e defideriodi cole appartenenti a difegno: e volle la buona fortuna fua»che egli, non fo in qual maniera, defìe alle mani dun Ca-valiere, che in quel tempo avea luogo frapiù degni della noftra patria,amiciffimo delle buone arti. Quelli fu Alberto dOttavio de Bardi, de/Conti di Vernio, che allora fofteneva la carica di Cavallerizzo Maggio-re della gloriola memoria del Sereniffimo Cardinale Carlo de Medici ,ed anche era tuo gran favorito: il quale per lottimo gufto e per la grandeintelligenza che egli aveva in cofe di pittura e fcultura, e per la prote-zione che fu folito di tener fempre di quefte arti nobiliffime, fi era gua-dagnato tannente 1

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

XVIIe sècle,

Huile sur toile,

Hauteur avec cadre en cm 102 ; Hauteur en cm 87.5 ; Largeur avec cadre en cm 90 ; Largeur en cm 75.9 ; Epaisseur en cm 7,

Musée des Beaux-Arts, Chambéry

Identifier: gri_notiziedepro03bald

Title: Notizie de' professori del disegno da Cimabue in qua : per le quali si dimostra come, e per chi le bell' arti di pittura, scultura, e architettura lasciata la rozzezza delle maniere greca, e gottica, si siano in questi secoli ridotte all' antica loro perfezione

Year: 1681 (1680s)

Authors: Baldinucci, Filippo, 1625-1696 Baldinucci, Francesco Saverio, 1662-1738 Rotari, Pietro, 1707-1762 Franchi, Santi, 17th/18th cent Matini, Piero, fl. 1684-1700 Manni, Giuseppe Stamperia di S.A.R. (Florence, Italy) Accademia della Crusca

Subjects: Artists Art, Italian

Publisher: In Firenze : Per Santi Franchi [et al.]

Contributing Library: Getty Research Institute

Digitizing Sponsor: Getty Research Institute

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

tefte : econdufle le fue pitture con gran diligenza eltudio: e benché talvolta deflea quelle alcuni vivi refleifii non tolfe loro però la foniiglianza del natura-le ; ina gli diede con ciò una certa grazia e vaghezza particolare . Refta-rono dopo fua morte due fuoi fratelli, Vincenzio il foprannominato, eOttaviano: e quelli fu padre di Pietro {a) Dandini, il quale avendo in fanciul-lezza attefo alla pittura appreflò a Vincenzio fuo zio, non fu prima giuntoalletà di diciotto anni, che me(Te in pubblico opere belle di fua mano: edavendo poi fatti grandi (ludj in Roma, in Venezia, e per la Lombardia,ed acquiftata una franchezza di pennello, quafi impareggiabile, con altreottime qualità dellarte, ha dato e dà tuttavia sì gran faggio di fuo valore,che a noi porgerà ancora a fuo tempo aflai materia di parlar di lui e dellebelle opere fue. (a) Piero Dandini morì V anno 1712 « loffio Ottaviano , e Vincenzio , oggi Gejuita,fuoi figliuoli, buoni profeffori ambedue di pittura. FELICE

 

Text Appearing After Image:

FELICE FICHERELLI DETTO FELICE RIPOSOPITTOR FIORENTINO ■ Difcepolo di Jacopo da Empoli, nato circa al 1605. jfa 1660. |E3ice Ficherelli nacque in SanGimignano, antichifiìma Terradi Valdelfa, di parenti molto onorati e civili. Fino dallapiù tenera età fi condune a Firenze, quanto privo di affi*ftenza e davere, altrettanto provvido di genio e defideriodi cole appartenenti a difegno: e volle la buona fortuna fua»che egli, non fo in qual maniera, defìe alle mani dun Ca-valiere, che in quel tempo avea luogo frapiù degni della noftra patria,amiciffimo delle buone arti. Quelli fu Alberto dOttavio de Bardi, de/Conti di Vernio, che allora fofteneva la carica di Cavallerizzo Maggio-re della gloriola memoria del Sereniffimo Cardinale Carlo de Medici ,ed anche era tuo gran favorito: il quale per lottimo gufto e per la grandeintelligenza che egli aveva in cofe di pittura e fcultura, e per la prote-zione che fu folito di tener fempre di quefte arti nobiliffime, fi era gua-dagnato tannente 1

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

The Crocker Art Museum Presents Italian Baroque Masterpieces

www.artknowledgenews.com/04_11_2011_22_58_41_the_crocker_...

 

Subscribe to Art Knowledge News here, and join almost a million others who receive AKN daily..Free.

 

See incoming international art news from multiple media sources at : Art News Worldwide.

VERMEER, Johannes.

(b. 1632, Delft, d. 1675, Delft).

.

Saint Praxidis.

1655 (?).

Oil on canvas, 102 x 83 cm.

Private collection.

.

Signature: Signed(?) twice: MEER 1655 lower left. MEER N... .R. Lower right..

.

Provenance: Of all the recently proposed attributions destined to enlarge the body of Vermeer's so-called youthful period, this one is the most questionable. It has a checkered history. Discovered in 1943 in a small New York auction room by a couple of Belgian refugees, the late Jacob Reder and his wife, it was for a long time turned down by all Vermeer specialists. Jacob Reder, who dabbled in the Old Masters trade long before coming to America, was well known as an eccentric with a powerful imagination. After his death, the painting was acquired from his widow by a New York (now Los Angeles) dealer. From there, it passed into the collection of the current owner..

.

The painting is probably an Italianizing copy after a minor Florentine artist. Some connoisseurs believe that this copy was executed by an Italian in his customary technique. Others are inclined to admit that the painting could have been done by a northern artist, in close imitation of the Florentine original. The latter exists: it is by Felice Ficherelli (1605-69?) and belongs to a private collector in Ferrara. In any case, it is a mediocre painting. The main difference from the Florentine original is the cross in the hands of the saint, which was probably added at the request of a convent or church that had commissioned the work..

.

An attribution to Vermeer finds its sole basis in the two signatures, because neither style nor pictorial quality are anywhere close to the artistic level of Vermeer. It is extremely important to remember in this context, that false Vermeer signatures occur often and were probably affixed sometime during the eighteenth or nineteenth century. If such an inscription is two hundred years old, as compared with the age of roughly three hundred years for the painting, the contemporaneity becomes almost impossible to prove either way by so-called scientific methods..

.

An attribution to Michael Sweerts could possibly be considered..

.

.

.

.

.

.

--- Keywords: --------------.

.

Author: VERMEER, Johannes.

Title: Saint Praxidis.

Time-line: 1651-1700.

School: Dutch.

Form: painting.

Type: religious.