This study aims to make known the unpublished Blessing Christ by Carpaccio, traced in the Photo Libraries of Roberto Longhi and Carlo Volpe. The painting in 1966 was owned by the Bolognese antiquarian Giorgio Balboni and was previously in Stora Art Galleries in New York, as it is clear from the photograph preserved in the Photo Library Collection of the National Gallery of Washington. The latter, shows the painting in a little different state of conservation, able to put in evidence even more its quality, although it is analogous to the already known Christ the Saviour of the New Orleans Museum of Art (c. 1510). The present study also argues on the chronological position to be assigned to the work, taking as a starting point the valuable information provided in the handwritten notes by Longhi and Volpe. The date that is proposed settles in the early Nineties of the Fifteenth Century, coinciding with the first canvases of the cycle of St. Ursula, in years distant from the Blessing Christ by Antonello da Messina (London, National Gallery), a painting which, however, seems to have been a distant prototype for Carpaccio.

Un nuovo 'Salvator mundi' di Carpaccio

MENATO, SARA
2012

Abstract

This study aims to make known the unpublished Blessing Christ by Carpaccio, traced in the Photo Libraries of Roberto Longhi and Carlo Volpe. The painting in 1966 was owned by the Bolognese antiquarian Giorgio Balboni and was previously in Stora Art Galleries in New York, as it is clear from the photograph preserved in the Photo Library Collection of the National Gallery of Washington. The latter, shows the painting in a little different state of conservation, able to put in evidence even more its quality, although it is analogous to the already known Christ the Saviour of the New Orleans Museum of Art (c. 1510). The present study also argues on the chronological position to be assigned to the work, taking as a starting point the valuable information provided in the handwritten notes by Longhi and Volpe. The date that is proposed settles in the early Nineties of the Fifteenth Century, coinciding with the first canvases of the cycle of St. Ursula, in years distant from the Blessing Christ by Antonello da Messina (London, National Gallery), a painting which, however, seems to have been a distant prototype for Carpaccio.
2012
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11577/2681254
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