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DOI Artikel:Murawska-Muthesius, Katarzyna; Secomska, Krystyna: Mary Magdalen, the counter reformation and the Caravaggisti: are there any more paintings by Antiveduto Gramatica in Poland?
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18945#0139
16. Antiveduto Cromatica,
Tulerunt Dominum Meum,
St. Petersburg, The
Hermitage (Phot, after
Caravaggio and his
Followers... op. cit)
attribution should be approached with utmost care, since the oeuvre of Gramatica,
as well as the copies made by his followers, are still a subject of discussion.
Unfortunately, the iconographically similar painting in the Hermitage
represents completely different qualities of Gramatica’s style; consider the
delicate, refined figures of the two angels; a certain “ostentation” and
exaggeration of the gesticulations; the contrived, yet shallow space; and the
setting of the large tomb (with the inscription “QUIA TULERUNT DOMINUM
MEUM"). In spite of the rich painterly quality and the dramatic play of light
and shade, the painting still betrays certain Mannerist traits.
All things considered, it seems that the attribution of the Kazimierz Dolny
Magdalen to the master himself would be at this stage too hasty a decision.
However, several specific elements of this painting (the “deformed” profile
with the nose narrow at the top and widened at the bottom; the narrow,
swollen eyes with painfully raised brows; the small, characteristically shaped
mouth set in a plump and strongly shaded chin; the fluffy, draped curls of the
long hair, suggest a working hypothesis: the work in Kazimierz could be by
Gramatica’s son, Imperiale. The most important analogy here is St. Veronica
with the Attributes of the Passion (Rome, Galleria Laurina) s (Fig. 17). The
77 K. Murawska and K. Secomska long ago attempted to obtain the consultation of distinguished
European specialists. Professor Charles Sterling (oral opinion, 1987) called attention to the
relation with the works of the Carracci, while Eduard Safafik (oral opinion, 1990, also on the basis
of a photograph) indicated (as the first) the possible connections with the painting of Gramatica.
/S Papi’s attribution; see G. Papi, “Note in margine alla mostra: L’arte per i papi e per i principi nella
129
Tulerunt Dominum Meum,
St. Petersburg, The
Hermitage (Phot, after
Caravaggio and his
Followers... op. cit)
attribution should be approached with utmost care, since the oeuvre of Gramatica,
as well as the copies made by his followers, are still a subject of discussion.
Unfortunately, the iconographically similar painting in the Hermitage
represents completely different qualities of Gramatica’s style; consider the
delicate, refined figures of the two angels; a certain “ostentation” and
exaggeration of the gesticulations; the contrived, yet shallow space; and the
setting of the large tomb (with the inscription “QUIA TULERUNT DOMINUM
MEUM"). In spite of the rich painterly quality and the dramatic play of light
and shade, the painting still betrays certain Mannerist traits.
All things considered, it seems that the attribution of the Kazimierz Dolny
Magdalen to the master himself would be at this stage too hasty a decision.
However, several specific elements of this painting (the “deformed” profile
with the nose narrow at the top and widened at the bottom; the narrow,
swollen eyes with painfully raised brows; the small, characteristically shaped
mouth set in a plump and strongly shaded chin; the fluffy, draped curls of the
long hair, suggest a working hypothesis: the work in Kazimierz could be by
Gramatica’s son, Imperiale. The most important analogy here is St. Veronica
with the Attributes of the Passion (Rome, Galleria Laurina) s (Fig. 17). The
77 K. Murawska and K. Secomska long ago attempted to obtain the consultation of distinguished
European specialists. Professor Charles Sterling (oral opinion, 1987) called attention to the
relation with the works of the Carracci, while Eduard Safafik (oral opinion, 1990, also on the basis
of a photograph) indicated (as the first) the possible connections with the painting of Gramatica.
/S Papi’s attribution; see G. Papi, “Note in margine alla mostra: L’arte per i papi e per i principi nella
129