LOT DETAILS

Materials:

oil on canvas

Measurements:

38.98 in. (99.00 cm.) (height) by 31.89 in. (81.00 cm.) (width)

Condition:

framed

Literature:

M. Stefani Mantovanelli, M. Stefani Mantovanelli, Giovanni Battista Langetti, Giovanni Battista Langetti, in: Saggi e Memorie di Storia dell’Arte, in: Saggi e Memorie di Storia dell’Arte, 17, 17, 1990, 1990, p. 80 and p. 308, p. 80 and p. 308, fig. 122;, fig. 122;, M. Stefani Mantovanelli, M. Stefani Mantovanelli, in: E. Gavazza/G. Rotondi Terminiello (ed.), in: E. Gavazza/G. Rotondi Terminiello (ed.), Genova nell’età barocca, Genova nell’età barocca, exhibition catalogue, exhibition catalogue, Bologna 1992, Bologna 1992, pp. 206-208, pp. 206-208, mentioned under no. 110;, mentioned under no. 110;, M. Stefani Mantovanelli, M. Stefani Mantovanelli, Giovanni Battista Langetti. Il principe dei tenebrosi, Giovanni Battista Langetti. Il principe dei tenebrosi, Soncino 2011, Soncino 2011, pp. 236-237, pp. 236-237, no. 156, no. 156, pl. LXXI, pl. LXXI, The present painting, The present painting, together with its pendant lot 61, together with its pendant lot 61, ,can be considered ‘tra le più belle e mature’ [‘among the finest and most mature’] half-figure works of the Genoese painter Giovanni Battista Langetti (see literature, ,can be considered ‘tra le più belle e mature’ [‘among the finest and most mature’] half-figure works of the Genoese painter Giovanni Battista Langetti (see literature, 2011, 2011, p. 236). Indeed, p. 236). Indeed, the work belongs to the late phase of the artist’s career, the work belongs to the late phase of the artist’s career, when his pictorial language had reached a balanced concision, when his pictorial language had reached a balanced concision, expressive of his past pictorial influences and experiences. It can be dated to a moment a little before the execution, expressive of his past pictorial influences and experiences. It can be dated to a moment a little before the execution, in 1675, in 1675, of the Saint Peter and Saint Paul made for the now demolished church of Sant’Agostino at Padua (and currently located in the church of San Daniele in the same city)., of the Saint Peter and Saint Paul made for the now demolished church of Sant’Agostino at Padua (and currently located in the church of San Daniele in the same city)., The Greek philosopher Diogenes is represented in the present painting: in his left hand he holds the characteristic lantern, The Greek philosopher Diogenes is represented in the present painting: in his left hand he holds the characteristic lantern, an emblem of the searching of man, an emblem of the searching of man, while with his right hand, while with his right hand, he points to himself, he points to himself, as if to indicate that his investigation is of his inner being. The profound psychological introspection of the subject is evidenced by the intensity of his expression, as if to indicate that his investigation is of his inner being. The profound psychological introspection of the subject is evidenced by the intensity of his expression, rendered highly naturalistically with dense fast brush strokes that form anatomical details, rendered highly naturalistically with dense fast brush strokes that form anatomical details, activating the use of light to create dramatic effects of chiaroscuro. The subject of Diogenes, activating the use of light to create dramatic effects of chiaroscuro. The subject of Diogenes, ,which was more frequently represented in Northern European painting but was treated during the seventeenth century in Italy by other artists including Ribera (Gemäldegalerie, ,which was more frequently represented in Northern European painting but was treated during the seventeenth century in Italy by other artists including Ribera (Gemäldegalerie, Madrid)., Madrid)., Giovanni Battista Langetti’s earliest training occurred in his native city while he completed his apprenticeship at Rome in the studio of Pietro da Cortona, Giovanni Battista Langetti’s earliest training occurred in his native city while he completed his apprenticeship at Rome in the studio of Pietro da Cortona, after which he made a journey to Naples where came into contact with various artists who were to draw his painting under the influence of the Caravaggist tenebrosi, after which he made a journey to Naples where came into contact with various artists who were to draw his painting under the influence of the Caravaggist tenebrosi, and most notably Jusepe de Ribera. From the latter half of the 1650s he established himself definitively in Venice, and most notably Jusepe de Ribera. From the latter half of the 1650s he established himself definitively in Venice, ,while never loosing contact with his native Genoese ambient. Boschini described the painter as ‘[d’] inzegno tenebroso e scuro’ [‘[of a] tenebrist and dark genius’] (see M. Boschini, ,while never loosing contact with his native Genoese ambient. Boschini described the painter as ‘[d’] inzegno tenebroso e scuro’ [‘[of a] tenebrist and dark genius’] (see M. Boschini, 1660, 1660, ed. by A. Pallucchini, ed. by A. Pallucchini, Venice and Rome 1966, Venice and Rome 1966, p. 577) on account of his painterly style, p. 577) on account of his painterly style, which drew him into association with other painters active in Venice at the time, which drew him into association with other painters active in Venice at the time, whose work is likewise characterised by extreme naturalism and a dramatically violent deployment of light and shade., whose work is likewise characterised by extreme naturalism and a dramatically violent deployment of light and shade

Provenance:

sale, Christie’s, London, 11 December 1987, lot 125;, sale, Algranti, Milan, 27 October 1988, lot 62;, Private collection, Genoa;, where acquired by the present owner