LOT DETAILS

Materials:

oil on canvas

Measurements:

40.55 in. (103.00 cm.) (height) by 29.92 in. (76.00 cm.) (width)

Markings:

inscribed on the reverse of the stretcher upper center: Pietro Faccini f.. cce

Condition:

framed

Literature:

G. Giordani, G. Giordani, Catalogo de’ quadri di varie scuole pittoriche raccolte in una galleria particolare in Bologna, Catalogo de’ quadri di varie scuole pittoriche raccolte in una galleria particolare in Bologna, Bologna 1865, Bologna 1865, p. 16, p. 16, no. 166 (as Pietro Faccini);, no. 166 (as Pietro Faccini);, E. Negro, E. Negro, N. Roio, N. Roio, Pietro Faccini 1575/76 – 1602, Pietro Faccini 1575/76 – 1602, Modena 1997, Modena 1997, p. 124, p. 124, ,no. 58 (mentioned under “Opere citate dalle fonti ma perdute, ,no. 58 (mentioned under “Opere citate dalle fonti ma perdute, We are grateful to Emilio Negro and Nicosetta Roio for confirming the attribution on the basis of a high resolution digital photograph., We are grateful to Emilio Negro and Nicosetta Roio for confirming the attribution on the basis of a high resolution digital photograph., We are grateful to Nicholas Turner for independently confirming the attribution after examination of the original and for his help in cataloguing the present painting., We are grateful to Nicholas Turner for independently confirming the attribution after examination of the original and for his help in cataloguing the present painting., The present work once belonged to Conte Luigi Salina (1762-1845), The present work once belonged to Conte Luigi Salina (1762-1845), President of the Court of Appeal, President of the Court of Appeal, Bologna. It remained in his family and is cited in a catalogue of 1865 which recorded the paintings preserved in the family palace on via Barberia (see literature). The work is listed among those of the ‘Camera Verde’ [‘Green Room’] where it is described as a half-length of St. Margaret by Faccini, Bologna. It remained in his family and is cited in a catalogue of 1865 which recorded the paintings preserved in the family palace on via Barberia (see literature). The work is listed among those of the ‘Camera Verde’ [‘Green Room’] where it is described as a half-length of St. Margaret by Faccini, ‘al vero, ‘al vero, ben dipinta’ [‘life size, ben dipinta’ [‘life size, well painted’]. When Conte Salina’s heir, well painted’]. When Conte Salina’s heir, the homonymous Luigi (1857-1930), the homonymous Luigi (1857-1930), died, died, an inventory was compiled (see documentation). The present painting could be identified with a Saint Margaret listed here among the paintings in the via Barberia city palace. The present work is also cited in the monograph on Pietro Faccini by Emilio Negro, an inventory was compiled (see documentation). The present painting could be identified with a Saint Margaret listed here among the paintings in the via Barberia city palace. The present work is also cited in the monograph on Pietro Faccini by Emilio Negro, Nicosetta Roio and Carlo Giovannini, Nicosetta Roio and Carlo Giovannini, published in 1997, published in 1997, among untraced works by the master., among untraced works by the master., During Faccini’s short career as an independent painter, During Faccini’s short career as an independent painter, which lasted less than a decade, which lasted less than a decade, his early training in the Carracci’s Accademia degli Incamminati exerted a profound influence. Following a quarrel with Annibale Carracci (1560—1609), his early training in the Carracci’s Accademia degli Incamminati exerted a profound influence. Following a quarrel with Annibale Carracci (1560—1609), circa 1594, circa 1594, Faccini left the Carracci academy and opened a rival establishment of his own in Bologna. In an account of the rivalry between the two painters, Faccini left the Carracci academy and opened a rival establishment of his own in Bologna. In an account of the rivalry between the two painters, heavily larded with anecdote, heavily larded with anecdote, ,Malvasia claimed that Faccini was jealous of the success of the Carracci (ed. 1841, ,Malvasia claimed that Faccini was jealous of the success of the Carracci (ed. 1841, p. 398). Whatever the reality of the events, p. 398). Whatever the reality of the events, Faccini’s independent work remained strongly indebted to the Carracci. As a painter, Faccini’s independent work remained strongly indebted to the Carracci. As a painter, he was very much his own man, he was very much his own man, practising a personal style often described as slightly ‘bizarre, practising a personal style often described as slightly ‘bizarre, ’ and employing certain distinctive traits in the representation of the human figure. The saint’s boyish face in the present canvas, ’ and employing certain distinctive traits in the representation of the human figure. The saint’s boyish face in the present canvas, very likely based on that of a studio garzone, very likely based on that of a studio garzone, could be said to be such an idiosyncrasy., could be said to be such an idiosyncrasy., Faccini was adept in colour harmonies, Faccini was adept in colour harmonies, as demonstrated in the present painting through the beautiful juxtaposition in the saint’s cloak and dress, as demonstrated in the present painting through the beautiful juxtaposition in the saint’s cloak and dress, respectively, respectively, of the neighbouring hues of red and pink. The red dominates the painting and holds the composition together through repetitions; for example it can be found in the crucifix held aloft in the saint’s right hand, of the neighbouring hues of red and pink. The red dominates the painting and holds the composition together through repetitions; for example it can be found in the crucifix held aloft in the saint’s right hand, the saint’s lips and the dragon’s tongue and mouth. The rugged brushwork in her drapery is especially beautiful. Faccini’s skill in orchestrating colour recalls Titian’s palette, the saint’s lips and the dragon’s tongue and mouth. The rugged brushwork in her drapery is especially beautiful. Faccini’s skill in orchestrating colour recalls Titian’s palette, while his subtle modulations of form show the influence of Correggio’s graceful transitions., while his subtle modulations of form show the influence of Correggio’s graceful transitions., The crucifix is central to the story of the saint (now thought to be apocryphal). According to tradition, The crucifix is central to the story of the saint (now thought to be apocryphal). According to tradition, she was destined to marry the prefect of Antioch but she refused his hand, she was destined to marry the prefect of Antioch but she refused his hand, saying she was a Christian virgin. For spurning him, saying she was a Christian virgin. For spurning him, she was tortured and thrown into prison. Disguised as a dragon, she was tortured and thrown into prison. Disguised as a dragon, Satan appeared to her and then devoured her, Satan appeared to her and then devoured her, but because of the crucifix clasped firmly in her hand, but because of the crucifix clasped firmly in her hand, she emerged from its belly unharmed. This triumphant escape from peril through the steadfastness of her faith is the subject of the picture., she emerged from its belly unharmed. This triumphant escape from peril through the steadfastness of her faith is the subject of the picture., In Faccini’s painting, In Faccini’s painting, the all-important crucifix is held in the saint’s hand, the all-important crucifix is held in the saint’s hand, in a rather unusual fashion, in a rather unusual fashion, with the thumb tightly pressed against its upright stem, with the thumb tightly pressed against its upright stem, the index finger wrapped around the back of it and the little finger daintily sticking out to the side—a difficult passage of painting not to be attempted by the faint-hearted. The unusual position of the hand recalls, the index finger wrapped around the back of it and the little finger daintily sticking out to the side—a difficult passage of painting not to be attempted by the faint-hearted. The unusual position of the hand recalls, in reverse, in reverse, that of a left hand tightly grasping a thorn branch in a red chalk study on the back of a drawing by Ludovico Carracci in the British Museum, that of a left hand tightly grasping a thorn branch in a red chalk study on the back of a drawing by Ludovico Carracci in the British Museum, London (inv. 1991-4-6-64). A variant of that pose in St Margaret’s hand holding the crucifix is proof of the enduring influence of the Carracci on Faccini’s work, London (inv. 1991-4-6-64). A variant of that pose in St Margaret’s hand holding the crucifix is proof of the enduring influence of the Carracci on Faccini’s work, perhaps motivated by his desire to show that he was just as good at difficult anatomy as his rivals., perhaps motivated by his desire to show that he was just as good at difficult anatomy as his rivals

Provenance:

Salina collection, Bologna;, thence by descent to the present owner, Documentation:, Archivio di Stato, Bologna, Inventario legale della eredità del fu Conte Luigi Salina, Ufficio del Registro delle Successioni, serie II, mazzo 935, fasc. 49