Jacopo Negretti Palma il Giovane attribuito

Unsigned painting in the Mannerist style, attributed to Jacopo Negretti, perhaps made with the help of his workshop, but in which the master's hand is evident, to whom it can indeed be attributed with likely evidence, where several distinctive traits of the Venetian painter appear. This is especially true in the drapery, the face and eyes of the virgin, and in the sweet expressiveness of the angel, who is portrayed softly in flight. The face of this angel, although with very slight differences, appears in several paintings by Palma the Younger (perhaps one could hypothesize a in-house model?), such as in the canvas preserved at the Cathedral of Urbino depicting the Crucifixion, in the Annunciation preserved in Venice in San Geremia, or in the face of Apollo in Apollo and Marsyas preserved in the Braunschweig Museum in Germany. In the Annunciation of Venice, other compositional and pictorial affinities are also evident, such as in the lily offered to the Virgin or in the basket with the linen and the sixteenth-century stool present in the scene. Also in the painting of the Dedication of Udine to Venice preserved in the museum of Udine, several affinities can be seen in the faces of the cherubs and the angel. As in the Lamentation of the Dead Christ preserved at the Monte di Pietà in Udine, with regard to the drapery and the face of the virgin with the characteristic pinkish eyebrow. There is also a surprising compositional affinity with the preparatory drawing of the painting of the Ecstasy of Saint Teresa of Avila, a sketch now preserved in the Pordenone Museum, with particular reference to the posture and positions of the Angel in flight and the Saint, who is also praying kneeling on a prie-dieu to the right of the scene. Without dwelling further, a part of the attribution studies of the work is visible in the photos divided into squares, with a graphic comparison of details of works by Palma the Younger present in various museums and collections. Palma the Younger painted several variations of the Annunciation during his life, with elements of the composition substantially related to the work we are presenting, including two preserved in Venice in the churches of the Madonna dell'Orto and San Geremia, in which the angel in flight and the virgin leaning on a prie-dieu appear; another version is preserved in the Brera Art Gallery in Milan. Another Annunciation by Palma the Younger is also preserved in Friuli in Moimacco (UD) in the Villa de Claricini Dornpacher. Another annunciation is also in Pesaro, in the church of Sant'Agostino. State of conservation of the work: painting lined presumably between the 19th and 20th century, where a partial but insufficient cleaning of the work seems to have been carried out. The painting, however originally in dark tones often present in Venetian painting of the time, appears readable, but the brilliance of the colors is certainly reduced by the patina and the oxidation over the centuries of pigments and protective varnish that has not been removed. It is possible to proceed with a further intervention/attempt to clean it, if desired, which is not essential in any case. The color losses are very circumscribed and reduced and in the central part of the painting, they are well restored and visible only with UV reflectography even at various wavelengths. IR reflectography has highlighted a probable preparatory sketch of the outlines of the figures but no rethinking or repainting. The stylized protective frame is contemporary with the restoration. Further observations: a counter-Reformation work therefore foreign to the magnificent nature of Mannerism, reflecting the traditions and dogmas of the church, particularly those that had been reformed. Religious images, in the period, had to be simple, essential, easily understood and adherent to the sacred scriptures. The church exercised strict control over the works of artists. There is no opulent furniture in the scene but a sixteenth-century chair and a prie-dieu with puppets typical of the period. The archangel, painted with a certain refinement, holds a lily in his hand, a symbol of purity and chastity traditionally linked to the Virgin Mary. The latter expresses a submissive attitude and full acceptance of God's will, typical of the Counter-Reformation and its origins. With the other hand, the angel points to the sky and the Holy Spirit symbolized by a dove flying among playful cherubs and clouds. The basket with clothes, often present in the Annunciations of the period, is a symbol of the materiality of earthly life and the destiny of human beings with their daily needs. Dimensions: 121 x 90 cm. Provenance: Ex hereditary legacy, private collection Udine. Photographic collages show details of the painting compared with other works by Palma il Giovane. Frame (a) details face of the angel compared with: Annunciation Venice in San Geremia - Cathedral of Urbino Crucifixion and other works by Palma il Giovane. Frame (b) face of the Virgin compared with the Lamentation of the Dead Christ preserved at the Monte di Pietà in Udine - Lamentation of Christ, Dead, Palma the Younger, Dorotheum auction Vienna 11.5.22 and other works by Palma il Giovane Frame (c) Details of cherubs' faces compared with other works by Palma il Giovane Frame panel (d) Rest during the flight into Egypt – Accademia dei Concordi Rovigo - Ecstasy of Saint Teresa of Avila, drawing, Pordenone Museum – Preparatory drawings by Palma il Giovane, angel detail – Details of clouds compared with other works Jacopo Palma the Younger Giacomo Negretti, known as Palma il Giovane to distinguish him from his great-uncle Jacopo Palma il Vecchio (Venice, 1548/1550 – October 14, 1628) was an important and prolific Italian painter. Coming from a family of artists, he was immediately initiated into pictorial studies in the footsteps of his father's uncle, Palma il Vecchio, and his mother's brother, Bonifacio de' Pitati, (known as Bonifacio Veronese). In 1564 the Duke of Urbino Guidobaldo II della Rovere, on a visit to Venice, appreciated Jacopo's artistic talents and invited him to court in Urbino. In May 1567, he moved to Rome for four years as a guest of the ambassador of the Grand Duchy of Urbino, Traiano Mario. In Rome he studied and was influenced by Raphael and Tintoretto, made various copies of Titian, his true master, with whom he later collaborated, completing his famous painting of the Pietà. He trained in the period of the Venetian school and Roman Mannerism, which he was able to learn during the four years of his stay. The beginning of his artistic production is dated around 1565. In 1582 he married Andriana Fondra, who however brought no small worries to the painter due to her unstable soul, a situation worsened by the premature death of two children of the couple. He died of pulmonary problems in 1628, without any of his heirs (his daughters Crezia and Giulia and his nephews Andriana and Giacomo) continuing the pictorial tradition of the family. He was among the most active painters in the late 16th century and painted in Venice, Bergamo, Rome, Urbino, in Friuli and elsewhere. Palma il Giovane is present with numerous paintings in Friuli starting from 1583, when he completed for the church of Tricesimo a Presentation at the Temple of great effect for its decisive scenographic layout and rich chromatic mixture, until 1624, when he signed for the parish church of Pontebba a modest altarpiece with the Virgin and the saints, highlighting the exhausted creative vein. Among the various “Friulian” paintings (about twenty), of particular significance is the 1595 canvas commissioned by the community of Udine – which in the past had relied on Pomponio Amalteo, Francesco Floreani and Alessandro Spilimbergo for paintings of this kind –, depicting the Virgin with the Child surrounded by angels with the saint from Aquileia, Ermacora, standing and San Marco kneeling, holding the banner of Udine in his hand, symbolizing the Dedication of Udine to Venice. In accordance with the provisions of the New Code of Cultural Heritage, the selling company provides a detailed written photographic guarantee of the originality and provenance of the works sold at the time of sale. The data describing the works and then contained in the written guarantees are informed determinations, the result of accurate and documented technical/historical/artistic investigations, including expert reports.