DOI issue:
Nr. 3-4
DOI article:Kaleciński, Marcin: "Mary Magdalen at the Tomb of Christ": an unknown work of Antiveduto Gramatica at the visitation convent in Cracow
DOI Page / Citation link:https://doi.org/10.11588/diglit.18945#0173
probably copies from the graphic reproduction of an unknown version of
Gramatica painting of Mary Magdalen at the Tomb of Christ.
The Visitation Convent in Cracow also contains the Visitation painted in
1696 by Pawel Pieleszynski6 (Fig.6). Presumably this painting is a repetition of
the copy of Gramatica’s painting in the former Benedictine Church in
Sandomierz (Fig. 7). The Sandomierz painting is a copy of a work by
Gramatica in the Museo del Duomo in Amelia (Fig.8), a copy which although
not equal to the quality of the original (it is painted very dryly and linearly),
was probably executed on the basis of the original (as suggested by a similar use
of colour). The Visitation in Amelia is certainly one of the painter’s late works
from ca. 1620-1626.7 A realistic Carravagist flair is clearly visible;
reminiscences of the works of B. Manfredi are discernable (the method of
framing and situating the figures in space, referred to by Sandrart as “methodus
Bartholomei Manfredi”, although the painter obviously did not invent them),
but above all Simon Vouet and his version of Caravaggism, subdued by lessons
from Bolonian and Venetian painting.
The Cracow Bishop Jan Malachowski was the individual connecting the
Convents in Cracow and Sandomierz. He funded the Church and Convent of
the Visitation in Cracow (constructed in the years 1692-95) and in 1696
consecrated the Benedictine Church in Sandomierz.8 If we consider as well that
7 This painting was first published as a work of Gramatica in: F. Fenzoni, A. Polidori, B. Barbiani,
F. Todini, Pittura del Seicento in Umbria, Perugia 1990, pp.21, 25-27; G. Papi [Antiveduto
Gramatica, op. cit., p. 128) attributes this painting to Gramatica’s son, Imperiale.
8 F. S. Ignaszewska, “Historia fundacji...” op. cit., pp. 13-35.
8. Antiveduto Gramatica,
7he Visitation, Museo del
Duomo in Amelio (Phot.
Biblioteca Hertziana)
163
Gramatica painting of Mary Magdalen at the Tomb of Christ.
The Visitation Convent in Cracow also contains the Visitation painted in
1696 by Pawel Pieleszynski6 (Fig.6). Presumably this painting is a repetition of
the copy of Gramatica’s painting in the former Benedictine Church in
Sandomierz (Fig. 7). The Sandomierz painting is a copy of a work by
Gramatica in the Museo del Duomo in Amelia (Fig.8), a copy which although
not equal to the quality of the original (it is painted very dryly and linearly),
was probably executed on the basis of the original (as suggested by a similar use
of colour). The Visitation in Amelia is certainly one of the painter’s late works
from ca. 1620-1626.7 A realistic Carravagist flair is clearly visible;
reminiscences of the works of B. Manfredi are discernable (the method of
framing and situating the figures in space, referred to by Sandrart as “methodus
Bartholomei Manfredi”, although the painter obviously did not invent them),
but above all Simon Vouet and his version of Caravaggism, subdued by lessons
from Bolonian and Venetian painting.
The Cracow Bishop Jan Malachowski was the individual connecting the
Convents in Cracow and Sandomierz. He funded the Church and Convent of
the Visitation in Cracow (constructed in the years 1692-95) and in 1696
consecrated the Benedictine Church in Sandomierz.8 If we consider as well that
7 This painting was first published as a work of Gramatica in: F. Fenzoni, A. Polidori, B. Barbiani,
F. Todini, Pittura del Seicento in Umbria, Perugia 1990, pp.21, 25-27; G. Papi [Antiveduto
Gramatica, op. cit., p. 128) attributes this painting to Gramatica’s son, Imperiale.
8 F. S. Ignaszewska, “Historia fundacji...” op. cit., pp. 13-35.
8. Antiveduto Gramatica,
7he Visitation, Museo del
Duomo in Amelio (Phot.
Biblioteca Hertziana)
163