Friday, June 4, 2021

Guercino in Bologna - 1650-1651

Guercino (Giovanni Francesco Barbieri)
Lot and his Daughters
1650
oil on canvas
Gemäldegalerie, Dresden

Guercino (Giovanni Francesco Barbieri)
Lot and his Daughters
1650
drawing (compositional study)
Royal Library, Windsor

Guercino (Giovanni Francesco Barbieri)
Lot and his Daughters
1650
drawing (drapery study - daughter at left)
Staatsgalerie, Stuttgart

Carl Straub after Guercino
Lot and his Daughters
1852
lithograph
British Museum

Guercino (Giovanni Francesco Barbieri)
Virgin and Child seated on Clouds
ca. 1650
oil on canvas
private collection

"[Luigi] Salerno rightly suggested that [Virgin and Child seated on Clouds] may be a fragment from a larger picture, the commission for which had been cancelled.  The incomplete lower half was presumably cut away and discarded.  Like other unfinished pictures, or those ordered by patrons who had then defaulted, the canvas would probably have remained in the painter's studio." 

Guercino (Giovanni Francesco Barbieri)
Virgin and Child seated on Clouds
ca. 1650
drawing (figure study - Christ Child)
British Museum

Guercino (Giovanni Francesco Barbieri)
Mourning Virgin (Addolorata)
ca. 1650
oil on canvas
Patrizi Collection, Rome

Guercino (Giovanni Francesco Barbieri)
Mourning Virgin (Addolorata)
ca. 1650
oil on canvas
private collection

"In [both versions of the Addolorata], the Virgin's veiled head, her sorrowful expression and her slightly plump hands held tightly together in prayer are similar.  The present picture [directly above] is, however, more sombre and less fully painted than the other.  The iconography of a sword embedded in the Virgin's breast is more specific than the generically devotional subject of the other canvas.  Here Guercino has represented the subject traditionally referred to as the Virgin of the Seven Sorrows, with seven swords piercing her breast, symbolizing the range of her grief following Christ's Passion.  . . .  Guercino chose to depict only one sword (but blade, hand-guard and grip slightly misaligned, as was his wont with difficult linear perspective)."  

Guercino (Giovanni Francesco Barbieri)
Erminia finding the wounded Tancred
1650-51
oil on canvas
Scottish National Gallery, Edinburgh

Guercino (Giovanni Francesco Barbieri)
Erminia finding the wounded Tancred
1650-51
drawing (figure study - Erminia)
Scottish National Gallery, Edinburgh

anonymous printmaker after Guercino
Erminia finding the wounded Tancred
18th century
etching (after Guercino drawing)
British Museum

Pietro Bonato after Guercino
Erminia finding the wounded Tancred
1805
engraving
British Museum

Guercino (Giovanni Francesco Barbieri)
St Anthony of Padua with the Infant Christ
ca. 1650-51
oil on canvas
Collegiata di San Giovanni Battista,
San Giovanni in Persiceto

Guercino (Giovanni Francesco Barbieri)
Vocation of St Aloysius Gonzaga
1650-51
oil on canvas
Metropolitan Museum of Art, New York

Guercino (Giovanni Francesco Barbieri)
Vocation of St Aloysius Gonzaga (detail)
1650-51
oil on canvas
Metropolitan Museum of Art, New York
 
"Aloysius [Luigi] Gonzaga (1568-91), the eldest son of Ferrante Gonzaga (1544-86), Marchese di Castiglione, resigned the marquisate in 1585 in favor of his younger brother and, after joining the Jesuits, devoted his life to helping the poor and sick.  He died from the plague at age 23, was beatified in 1605 and was canonized in 1726 by Pope Benedict XIII (reg. 1724-30).  Ferrante III Gonzaga (1617-78), Duke of Guastalla, commissioned this picture in 1650 for the Theatine church of Guastalla, S. Maria del Castello (now destroyed), to honour his ancestor and possibly to promote his canonization."  

– quoted texts from The Paintings of Guercino: a revised and expanded catalogue raisonné by Nicholas Turner (Rome: Ugo Bozzi Editore, 2017)