DOI Heft:
Część III. Badania atrybucyjne i technologiczne nad dawnym malarstwem i rysunkiem / Part III. Attribution and Technological Research on Old Master Paintings and Drawings
DOI Artikel:Joannides, Paul: Dwie wersje obrazu Święta Rodzina ze świętym Janem Chrzcicielem i świętą Katarzyną Aleksandryjską Gianfrancesca Penniego
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.45362#0255
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Attribution and Technological Research on Old Master Paintings and Drawings
both were painted in Rome, soon after Raphael’s death; the Warsaw panel could have arrived
in Mantua by any number of routes. Baldassare Castiglione, Federico Gonzaga’s trusted
envoy, concerned to enhance the status of Mantua, was trying to arrange a transfer of Giulio
and Penni to the city as early as December 1521 and Penni’s painting might in principle have
been sent to Federico around this time as an example of his work.42 However, it seems more
probable that it was acquired later in the 16th century; the Gonzaga were active collectors as
well as patrons throughout the Cinquecento, particularly so at its close.
As with most small moveable paintings of this period, executed for private homes or pal-
aces, there is no evidence who might have commissioned the two pictures. But simultaneous
production implies a simultaneous command, rather than successive ones; maybe the same
man or woman wanted a version for him- or her-self, and another for a relative; or different
versions for different properties... Of such choices we are - and are likely to remain - ignorant.
Teylers Museum, Haarlem, 2012-13 (Haarlem, 2012), pp. 208-11, cat. nos 78-80; I would incline to a date a year or
so later than the c. 1525 proposed by Gnann: they may have been executed as paintings.
42 Ferrari, op. cit., pp. 22-23; Penni was named by Castiglione in letters of 12 and 19 February, and 28 March
1523 (Shearman, Raphael in Early..., op. cit., pp. 74.4-46) but by then Castiglione was much closer to Giulio, ad-
dressed on the 12 as “carissimo mio,” than Penni, whom he did not mention again. Giulio was providing models
and designs for the Gonzaga villa at Marmirolo from as early as September 1522: see Ferrari, op. cit., pp. 25-30,
32—33,38,42-48, passim.
Attribution and Technological Research on Old Master Paintings and Drawings
both were painted in Rome, soon after Raphael’s death; the Warsaw panel could have arrived
in Mantua by any number of routes. Baldassare Castiglione, Federico Gonzaga’s trusted
envoy, concerned to enhance the status of Mantua, was trying to arrange a transfer of Giulio
and Penni to the city as early as December 1521 and Penni’s painting might in principle have
been sent to Federico around this time as an example of his work.42 However, it seems more
probable that it was acquired later in the 16th century; the Gonzaga were active collectors as
well as patrons throughout the Cinquecento, particularly so at its close.
As with most small moveable paintings of this period, executed for private homes or pal-
aces, there is no evidence who might have commissioned the two pictures. But simultaneous
production implies a simultaneous command, rather than successive ones; maybe the same
man or woman wanted a version for him- or her-self, and another for a relative; or different
versions for different properties... Of such choices we are - and are likely to remain - ignorant.
Teylers Museum, Haarlem, 2012-13 (Haarlem, 2012), pp. 208-11, cat. nos 78-80; I would incline to a date a year or
so later than the c. 1525 proposed by Gnann: they may have been executed as paintings.
42 Ferrari, op. cit., pp. 22-23; Penni was named by Castiglione in letters of 12 and 19 February, and 28 March
1523 (Shearman, Raphael in Early..., op. cit., pp. 74.4-46) but by then Castiglione was much closer to Giulio, ad-
dressed on the 12 as “carissimo mio,” than Penni, whom he did not mention again. Giulio was providing models
and designs for the Gonzaga villa at Marmirolo from as early as September 1522: see Ferrari, op. cit., pp. 25-30,
32—33,38,42-48, passim.