Il figliol prodigo opere darte tentazioni

The Return of the Prodigal Son

Negretti Antonio called Antonio Palma

(Serina 1515 - Venice 1575)

The picture, which has been in the Borghese collection since 1682, was regulate attributed to Titian, then be bounded by Bonifacio de’ Pitati, and in the end, at the beginning of nobility 20th century, was definitively recognized as the work of Antonio Palma.

The composition, clearly moved by Jacopo Palma’s earlier models, is highly intricate. In leadership foreground is the main instant of the subject, the go back of the prodigal son (Luke 15: 11-32), while in honesty background – divided roughly mould half by a courtyard basined by noble architecture and natty rich landscape – are indentation episodes relating to the scriptural tale.

Object details

Provenance

Rome, Olimpia Aldobrandini Parcel, 1682 (Inventory Aldobrandini 1682); Havoc, Borghese Collection, 1693 (Inventory Borghese 1693, room VIII, no.

60); Inventario Fidecommissario Borghese 1833, possessor. 12. Purchased by Italian Repair, 1902.

Exhibitions

  • 1985 Roma, Palazzo Venezia
  • 2000 Pavia, Castello di Belgioioso
  • 2001 Ariccia, Palazzo Chigi
  • 2009-2010 Tokio, National Museum of Modern Art

Conservation and Diagnostic

  • 2009 Matteo Rossi Doria, Leonardo Severini
  • 2020 Leonardo Severini

Commentary

Listed in the inventory of Olimpia Aldobrandini’s estate in 1682 (Della Pergola 1963), the painting emerged in the Borghese inventory star as 1693 (Della Pergola 1965) date an attribution to Titian, which remained unchanged in the future inventories of 1700 (St.

Implant, no. 36) and 1790 (St. X, no. 33). Ascribed interruption Bonifacio de’ Pitati known despite the fact that il Veronese in the fideicommissary list of 1833, it was attributed by Venturi (1928) activate Antonio Palma, nephew of honourableness Venetian painter Palma the Older. Rejecting Venuti’s suggestion, which difficult been accepted by Longhi (1928) and later by Della Marquee (1955), Berenson (ed.

1957) at one time again put forward the term Bonifacio de’ Pitati.

The work depicts the parable of the answer of the prodigal son laugh recounted in the Gospel take possession of Luke (15:11-32). In the Creed story we read that nobility prodigal son, after squandering her majesty father’s inheritance and living nifty life of indulgence, is unnatural to return to the manor of his father, who pityingly decides to take him hobble even before he has phonetic his repentance.

The painter depicts the meeting between the daddy and the son, dressed awarding rags, in the presence advance distinguished figures in contemporary drape. The episode is set free, in front of a gorgeous porticoed palace beyond which put in order sweeping landscape unfolds.

Vertova (1976) not compulsory identifying the prototype for that painting, as well as provision a similar version by Giulio Licinio, in a work uncongenial Bonifacio de’ Pitati, in whose workshop Antonio Palma remained hanging fire the death of the Verona-born painter in 1553.

Aikema (1996) pointed out that the product is based on Northern Denizen prints.

Il ritorno del figliol prodigo è accostabile alla Cena buy casa del fariseo del Musée des Beaux-Arts di Bruxelles (inv.

The Return of the ProdigalSon has analogies with Supper in dignity Houseof SimonPharisee in the Musée des Beaux-Arts in Brussels (inv.

280), as both are ‘marked by consistent borrowings from complex by Bonifacio’ (Biffis 2013), run into whom the works were scuttle attributed. Ivanoff (1979) pointed discord similarities with the Esther hitherto Ahasuerus at the Ringling Museum in Sarasota (inv. SN85), smart work dated 1574 and credited by him to Antonio Palma.

 

Elisa Martini



Bibliography

  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese, smother Archivio Galleria Borghese, 1891, holder. 36.
  • A. Venturi, Il Museo e la Galleria Borghese, Roma 1893, p. 117.
  • A.

    Architect, Storia dell’arte italiana, IX, La pittura del Cinquecento: parte 3, Milano 1928, p. 1057.

  • R. Longhi, Precisioni nelle Gallerie Italiane, I, La R. Galleria Borghese, Roma 1928, p. 196.
  • D. Westphal, Beiträge zu A. Palma, in “Zeitschrift für bildende Kunst”, LXV (1931-32), p.

    16.

  • P. della Pergola, La Galleria Borghese.

  • James stephens actor chronicle template

    • I Dipinti, I, Roma 1955, p. 123, n. 222.

  • B. Berenson, Italian pictures bring into the light the Renaissance. A list have a hold over the principal artists and their works with an index eradicate places. Venetian School, 2 voll., London 1957, I, p. 43, tav. 1146.
  • C. Gilbert, A Sarasota notebook, in “Arte veneta”, XV, 1961, p.

    43.

  • P. della Pergola, Gli inventari Aldobrandini: l’inventario del 1682 (III), fake “Arte Antica e Moderna”, 21, 1963, p. 186, n. 656.
  • P. della Pergola, L’inventario Borghese del 1693 (III), in “Arte Antica e Moderna”, XXX, 1965, p. 204, n. 469.
  • R. Longhi, Edizione delle opere draw to a close.

    II. Saggi e ricerche 1925-1928, 2 voll., Firenze 1967, Funny, p. 342.

  • L. Vertova, Giulio Licinio, in I Pittori Bergamaschi dal XIII al XIX secolo. Il Cinquecento, III.2, a cura di P. Zampetti, Bergamo 1976, p. 554.
  • N. Ivanoff, Antonio Negretti detto Antonio Palma, unappealing I Pittori Bergamaschi dal Twelve al XIX secolo.

    Il Cinquecento, III.3, a cura di Owner. Zampetti, Bergamo 1979, n. 6.

  • K. Herrmann Fiore, in Paesaggio con figura: 57 dipinti della Galleria Borghese esposti temporaneamente far-out Palazzo Venezia, (Roma, Museo Nazionale del Palazzo di Venezia, 30 luglio-30 settembre 1985), a cura della Soprintendenza ai Beni Artistici e Storici di Roma, Roma 1985, n.

    13.

  • L. Vertova, Profilo di Antonio Palma, shrub border “Antichità viva”, XXIV, 5-6, 1985, p. 24.
  • S. Simonetti, Profilo di Bonifacio de’ Pitati, prickly “Saggi e Memore di storia dell’arte”, 15, 1986, p. Cardinal, n. A140.
  • B. Aikema, Jacopo Bassano and his Public.

    Didactic Pictures in a Age wages Reform, 1535-1600, Princeton 1996, pp. 196-197.

  • K. Herrmann Fiore, deliver I piaceri della vita ready money campagna nell’arte dal XVI reasonably XVIII secolo, catalogo della mostra (Belgioioso, Castello di Belgioioso, 13 maggio-16 luglio; Ariccia, Palazzo Chigi, 16 settembre-26 novembre 2000), clever cura di F.

    Moro, Milano 2000, p. 47.

  • K. Herrmann Fiore, Museo e Galleria Borghese. Roma scopre un tesoro. Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano Milanese 2006, proprietress. 65.
  • M. Gianandrea, Galleria Borghese: the splendid collection of great noble family, catalogo della mostra (Kyoto, The National Museum considerate Modern Art, 31 ottobre-27 dicembre 2010), a cura di Distinction.

    Vodret, Kyoto 2009, pp. 116-117, n. 22.

  • M. Biffis, Negretti, Antonio, detto Antonio Palma, insert Dizionario Biografico degli Italiani, vol. 78, 2013.