Colnaghi Foundation Journal 01 - Page 166



166
Three Procaccinis at Colnaghi
Three Procaccinis at Colnaghi
N OTE S
1.
2.
3.
4.
5.
6.
Fig. 9 / Giulio Cesare
Procaccini, Holy Family
with the Infant Saint John,
oil on panel, 97 x 64.5 cm,
Paris, Galerie Canesso.
Fig. 10 / Giulio Cesare
Procaccini, Mystic
Marriage of Saint
Catherine, oil on panel,
44.4 x 34.6 cm, London,
The Daniel Katz Family
Trust.
formerly at Christie’s, London in July 2007,
shows the artist reverting to Correggio and
Parmigianino, but with an almost sculptural
precision, and with an extraordinary virtuoso
display of interlocking hands (fig. 10). These
pictures too may date from ca. 1620.
Thus the present newly-discovered picture
brings into one coherent group a variety
of hitherto unconnected late pictures and
sketches by G. C. Procaccini. Together they
demonstrate that even in his final years the now
well-established Milanese artist was still striving
creatively to develop his style and reinvent
himself: and he now invites us to compare
his work with that of the earlier Renaissance
masters, on which his own work was always
grounded.
7.
8.
9.
10.
11.
12.
13.
The most convenient reference point for illustrations
and basic catalogue details of Procaccini’s known
pictures is Hugh Brigstocke, Procaccini in America, exh.
cat. (New York: Hall and Knight, 2002), Appendix
II, pp. 144-191. Pictures that have changed location
or come to light since 2002 are described in the notes
below and in the captions of illustrations. Hugh
Brigstocke and Odette D’Albo are currently completing
a Catalogue Raisonné of G. C. Procaccini’s paintings
to be published by Allemandi, Turin, 2018. Dates
proposed for pictures discussed in this article reflect our
recent work and I wish to acknowledge here Odette
D’Albo’s essential role in this joint collaborative process.
Brigstocke, Procaccini in America, p. 177 as Private
Collection. See further Hugh Brigstocke in Dipinti
Lombardi dei Seicento, Collezione Koelliker, eds. Francesco
Frangi and Alessandro Morandotti (Turin: Artema,
2004), pp. 46-49.
Jonathan Bober, “A Flagellation of Christ by Giulio
Cesare Procaccini. Progress and Pictorial Style in
Borromean Milan,” Arte Lombarda 73-75 (1985): pp. 55-80.
Francesco Frangi and Alessandro Morandotti, La
peinture en Lombardie au 17 siècle. La violence des passions et
l’idéal de beauté, exh. cat. (Ajaccio: Musée Fesch, 2014).
Alfonso Pérez Sánchez, Pintura Italiana del Siglo 17 en
España (Madrid: Universidad de Madrid, 1965), p. 363,
as Madrid,colección Vizcondes de Roda.
Joan Bosch Balbona, “Retazos del sueño
tardorenacentista de Don Pedro de Toledo Osorio
y Colonna en el monasterio de la Anunciada de
Villafranca del Bierzo,” Anuario del Departamento de
Historia y Teoria del arte 21 (2009): pp. 121-146. Odette
D’Albo, “I governatori spagnoli a Milano e le arti:
Pedro de Toledo, Giulio Cesare Procaccini e le
‘Historie grandi della Vita di Nostro Signore’,” Nuovi
Studi 20 (2014): pp. 145-163. And for subsequent
disposals see further Joan Bosch Balbona, “Sobre
el quinto marqués de Villafranca, Camillo y Giulio
Cesare Procaccini,”Locus Amoenus 14 (2016): pp. 91-108.
Hugh Brigstocke, in Genua Tempu Fà, ed. Tiziana
Zennaro, exh. cat. (Monaco: Maison d’Art, 1997), p.
11. Formerly collection of Conde de Adanero. See
further Bosch Balbona, “Sobre el quinto marqués,” pp.
94 and 99.
Brigstocke, Procaccini in America, p. 128. For a more
exhaustive transcript of all the Doria documents see
further Viviana Farina, Giovan Carlo Doria: promotore delle arti
a Genova nel primo seicento (Florence: Edifir, 2002), p. 128.
Piero Boccardo and Anna Orlandi, L’età di Rubens,
Dimore committenti e collezionisti genovesi, exh. cat. (Genoa:
Palazzo Ducale, 2004), p. 364, no. 90.
Carlo Giuseppe Ratti, Istruzione di quanto può vedersi di piu
bello in Genova, vol. 1 (Genoa: 1780), p. 232.
Federico Alizeri, Guida artistica per la città di Genova vol. II
(Genoa: 1847), p. 252.
Brigstocke, Procaccini in America, p. 177, as Colnaghi,
London, 1993. Brigstocke, Dipinti Lombardi, pp. 50-52.
Roberto Longhi, “L’inizio dell’ abbozzo autonomo”,
Paragone 195 (1966): pp. 25-29.
14. Alessandro Morandotti, Il canto del sirene (Vicenza:
Neri Pozza, 2003), p. 83; Franco Moro, Piacenza terra
di frontiera: pittori lombardi e liguri del Seicento (Piacenza:
Grafiche Lama, 2010), p. 22; Odette D’Albo, Giulio
Cesare Procaccini.(PhD diss. Università Cattolica del
Sacro Cuore, Milan, 2015), pp. 354-355, no. 146.
167

Paperturn



Powered by


Full screen Click to read
Paperturn flip book
Search
Overview
Download as PDF
Print
Shopping cart
Full screen
Exit full screen