ORAZIO DE FERRARI (Genova Voltri, 1606 - Genoa, 1657) Saint martyr Oil on canvas, cm. 109x95. Framed The painting, unpublished, is accompanied by an expertise by Prof. Anna Orlando who has recognized that it is certainly an autograph work by Orazio De Ferrari. The expertise underlines the brilliant anatomy and the adherence to the luminism of Caravaggio. The work constitutes a significant example of the naturalistic tendencies widespread in Genoese painting between the third and fifth decade of the seventeenth century, of which De Ferrari is perhaps the most important exponent. Among the many possible terms of comparison we can mention here the Ecce Homo at the Pinacoteca di Brera in Milan and even more the San Sebastiano of a Senese private collection (see P. Donati, Orazio De Ferrari, Genoa 1997, cat. 12, p. 128) which, due to identity of format and specularity in the pose of the two figures of holy martyrs, was probably the pendant of our painting. In accordance with the opinion of Anna Orlando, this canvas should be considered a significant youth proof by Orazio De Ferrari, datable to the beginning of the 30s of the 17th century.
ORAZIO DE FERRARI (Genova Voltri, 1606 - Genoa, 1657) Saint martyr Oil on canvas, cm. 109x95. Framed The painting, unpublished, is accompanied by an expertise by Prof. Anna Orlando who has recognized that it is certainly an autograph work by Orazio De Ferrari. The expertise underlines the brilliant anatomy and the adherence to the luminism of Caravaggio. The work constitutes a significant example of the naturalistic tendencies widespread in Genoese painting between the third and fifth decade of the seventeenth century, of which De Ferrari is perhaps the most important exponent. Among the many possible terms of comparison we can mention here the Ecce Homo at the Pinacoteca di Brera in Milan and even more the San Sebastiano of a Senese private collection (see P. Donati, Orazio De Ferrari, Genoa 1997, cat. 12, p. 128) which, due to identity of format and specularity in the pose of the two figures of holy martyrs, was probably the pendant of our painting. In accordance with the opinion of Anna Orlando, this canvas should be considered a significant youth proof by Orazio De Ferrari, datable to the beginning of the 30s of the 17th century.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
