Catalogo / Passion for Baroque Painting

Passion for Baroque Painting
The Ducrot Collection
With essays by Vittorio Ducrot, Luciano Arcangeli and Claudio Strinati
ISBN 9788874628698
2016, pp. 224
240x280 mm, softcover with flaps, colour
€ 35,00
€ 29,75 (prezzo online)
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Il libro

The forty-three paintings presented in this catalogue raisonné of the seventeenth-century paintings in the Isabella and Vittorio Ducrot Collection are analyzed in depth by the scholar Letizia Treves. For each painting, accurately reproduced, the passages from one collection to another are reconstructed, and the relevant critical debate is discussed. Each entry ends with a detailed bibliography. The publication of the collection, practically unknown of until now but filled with great master works, represents an event for art history both in Italy and around the world.
Passione Barocco is the paradigmatic expression of the essence of collecting, in which micro-history is interwoven with history, art history is combined with the history of taste, and individual stories are joined with artistic currents. The concise, penetrating style of the entries written by Letizia Treves examines a century of painting, the Italian Seicento, also touching on France and Germany, a sole sixteenth-century antecedent (Annibale Carracci), and rare offshoots in the eighteenth century. In most cases, the subjects are of a religious nature, with forays into myth and allegory, and the signatures are either those of famous artists – from Pietro da Cortona to Luca Giordano, from Carlo Dolci to Cavalier d’Arpino, from Artemisia to Lanfranco, from Cagnacci to Battistello Caracciolo – or of painters who have recently returned to the limelight, starting from Giovanni Battista Beinaschi all the way to Andrea Vaccaro and Giuseppe Vermiglio. Dulcis in fundo, truly a masterstroke by Letizia Treves is the identification of an unpublished work by Simone Cantarini, the Testa di una giovane (Head of a Young Man), hitherto unattributed.
But Passione Barocco is above all the “expression of egocentrism and vanity”. The sentiments that Vittorio Ducrot tells us about instigate collecting; we can hardly dispute his opinion seeing that the paintings displayed and analyzed in the volume are his own. The fruit of a vibrant and profound passion – which he shares with his wife Isabella – and laid bare in the introductory pages that reveal the talent and passion of the true memorialist, who, through the episodes in his life, told without useless reticence, bestows upon the reader a universal lesson of life. Authoritative texts by Luciano Arcangeli and Claudio Strinati offer, as they close the substantial volume, a glance “from the outside” – thus an objective one – upon the Ducrot Collection.

Alcune pagine
Indice
  • Letizia Treves, Preface
  • Vittorio Ducrot, Birth and growth of a collection of paintings: stumbling blocks and obstacles in my path
  • Claudio Strinati, An idea of collecting
  • Luciano Arcangeli, Survey of the Ducrot Collection
  • Letizia Treves, The Ducrot Collection
    • 1. Giovanni Battista Beinaschi, The Mystic Marriage of Saint Catherine with an angel holding a martyr’s palm; 2. Pietro Berrettini, The Holy Family in a moonlit landscape; 3. Giacinto Brandi, Saint Francis weeping; 4. Guido Cagnacci, The Madonna reading; 5. Simone Cantarini, Study of the head of a young woman; 6. Giovanni Battista Caracciolo, Saint Andrew; 7. Attributed to Annibale Carracci, Christ carrying the Cross; 8. Giuseppe Cesari, The Rape of Deianeira; 9. Carlo Dolci, The Flight into Egypt; 10. Carlo Dolci, Saint Matthew and the angel; 11. Carlo Dolci, Saint Peter weeping; 12. Carlo Dolci, Saint James the Less; 13. Carlo Dolci, Ecce Homo; 14. Carlo Dolci, The Penitent Magdalene; 15. Carlo Dolci, Saint Agatha; 16. Carlo Dolci, Christ carrying the Cross; 17. Studio of Carlo Dolci, God the Father; 18. French Follower of Giovanni Lanfranco, The Assumption of the Virgin; 19. French School, circa 1650-75, The Rape of the Sabine Women; 20. Giovanni Battista Gaulli, Christ as Salvator Mundi; 21. Artemisia Gentileschi, Cleopatra; 22. Corrado Giaquinto, La Virgen de la Soledad; 23. Giacinto Gimignani, The Finding of Moses; 24. Luca Giordano, The Holy Family with the Infant Saint John the Baptist and Saint Elizabeth; 25. Giovanni Francesco Guerrieri, The Rape of Europa; 26. Johann Heiss, Joseph and Potiphar’s wife; 27. Giovanni Lanfranco, Christ carrying the Cross; 28. Studio of Nicolas de Largillière, Portrait of a Cistercian monk, half-length, holding a book; 29. Lombard School, beginning of the 17th Century, Figures bringing food and drink to seven monks, the Virgin Mary blessing from above; 30. Carlo Maratta, Saint Anthony of Padua adoring the Christ Child with an Angel; 31. Claude Mellan, Saint Bruno in prayer; 32. Charles Mellin, Saint Stephen; 33. Giulio Cesare Procaccini, Saint Carlo Borromeo in Glory; 34. Giovanni Francesco Romanelli, A bacchanalian scene with Ceres, the drunken Silenus and putti (An Allegory of the Four Seasons); 35. Andrea Sacchi, The Dream of Saint Joseph; 36. Follower of Guido Reni, Lamentation over the Dead Christ; 37. Francesco Solimena, Saint Anthony of Padua, Louis of Toulouse and Bonaventura adoring the Christ Child; 38-39. Francesco Solimena, Two Allegorical Virtues: Humility and Faith; 40. Massimo Stanzione, Lucretia; 41. Massimo Stanzione, Study of a woman, probably Saint Agatha, head and shoulders; 42. Andrea Vaccaro, The Penitent Magdalene; 43. Giuseppe Vermiglio, Joseph and Potiphar’s Wife; 44. Domenico Maria Viani, The Finding of Moses
  • Vittorio Ducrot, Paintings formerly in the Ducrot Collection, either sold or exchanged
L'autore
Letizia Treves

IT. Letizia Treves ha frequentato l’Università di Cambridge ove si è laureata in storia dell’arte scrivendo una tesi sui disegni di Simone Cantarini. In seguito ha conseguito un M.A. al Courtauld Institute of Art, con una tesi sui disegni di Michelangelo utilizzati da Daniele da Volterra, pubblicata in seguito sulla rivista «Apollo». Dal 1996 al 2012 ha lavorato per Sotheby’s, ove ha coperto il posto di Senior Director, esperta in dipinti italiani per le sedi di New York, Londra, Milano e Roma. Dal 2013 è Curator of Italian and Spanish Paintings 1600-1800 alla National Gallery di Londra.

EN. Letizia Treves studied at the University of Cambridge where she graduated in History of Art, writing a dissertation on the drawings of Simone Cantarini. Afterwards she received an M.A. from The Courtauld Institute of Art, writing her dissertation on Michelangelo’s drawings used by Daniele da Volterra, which she later published as an article in the art journal ‘Apollo’. From 1996 to 2012 she worked for Sotheby’s London, attaining the position of Senior Director in the Old Master Paintings department, specialising in Italian paintings. Since 2013 she is Curator of Italian and Spanish Paintings 1600–1800 at the National Gallery, London.

Pubblicazioni dell'autore
Letizia Treves

Passione Barocco

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