Italian school of the XVIII century, workshop of LUCA GIORDANO (Naples, 1634 - 1705). "Saint Catherine and King David". Oil on canvas

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Jul 14, 2021

Set Reminder 2021-07-14 06:30:00 2021-07-14 06:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7202
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• Lot Description
  Italian school of the XVIII century, workshop of LUCA GIORDANO (Naples, 1634 - 1705). "Saint Catherine and King David". Oil on canvas Size: 44 x 54 cm. Through a fast and precise brushstroke the author of this work configures a scene, sober and regal but full of dramatism. Which is configured thanks to the monumentality of both protagonists. The author uses a clear and concise composition, as a frieze and symmetrical, in such a way that facilitates the viewer's reading of it, getting him to focus his attention on the iconographic attributes of each of the characters. In the left zone, a woman, of large dimensions, holds a rosary in her hands and takes her right hand to her chest, while at her feet lies a decapitated head. So it can be identified as Santa Catalina. In the case of the male character, the presence of the Scepter and the animal on the left are reminiscent of the attributes of King Solomon. This work is inscribed within the aesthetic patterns of the Spanish school, especially close to the work of Luca Giordano, the most prominent Neapolitan painter of the late seventeenth century, and one of the main representatives of the late Italian Baroque.painter and engraver, known in Spain as Lucas Jordan, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in our country. However, after his death his work was often criticized for its speed of execution, opposed to the Greco-Latin aesthetics. It is believed that he was formed in the environment of Ribera, whose style he followed at first. However, he soon traveled to Rome and Venice, where he studied Veronese, whose influence has been felt ever since in his work. This trip was key to the maturation of his style, as well as the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. At the end of the 1670s Giordano began his great mural decorations (Montecassino and San Gregorio Armeno in Naples), which were followed from 1682 by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to carry out mural works in the monastery of El Escorial, where he worked from 1692 to 1694. Later he also painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of the cathedral of Toledo (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of Succession, so Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are kept in the most important art galleries around the world, including the Prado Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.
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