Colnaghi Collections_Vol 01 - Page 110

Fig. 13.2 Giovanni Francesco Barbieri, called Guercino, The Betrayal of Christ, ca. 1621, oil
on canvas, 115.3 x 142.2 cm, Cambridge, Fitzwilliam Museum University of Cambridge.
Fig. 13.1 Giovanni Francesco Barbieri, called Guercino, The Incredulity of Saint
Thomas, 1621, oil on canvas, 115.6 x 142.5 cm, London, National Gallery.
subject. Not surprisingly, both these Genoese painters exerted an
influence on the pictorial language of the Danish artist.
Another important point of reference for Keilhau was Guercino,
whom the artist may have met during his time in Ferrara and
Emilia Romagna in late 1655 or early 1656. Guercino’s paintings,
especially of the early 1620s, influenced Keilhau greatly; for
example, the latter’s Incredulity of Saint Thomas in Untermarchtal
Fig 13.3 Giovanni Battista Pasqualini, The Arrest of Christ, 1621, engraving,
25.8 x 28.7 cm, San Francisco, Fine Arts Museums of San Francisco.
reprises the Bolognese master’s famous canvas in the National
Gallery, London (fig. 13.1). The present work also relates to
Guercino’s treatment of the same subject from 1621, now in
compositions follow the direction of the engravings, appearing to
the Fitzwilliam Museum, Cambridge (fig. 13.2). If Keilhau’s
confirm his use of these as models, rather than the original works.
composition is derived from Guercino’s, nonetheless, his palette
is very different (also true of the Incredulity of Saint Thomas) and
G ianni P api
the physiognomy of his figures is distinctive; Keilhau evidently
preferred to work from a proven compositional model, interpreting
it in his own personal style. His use of a palette independent of the
compositional model probably indicates Keilhau’s use of Giovanni
Battista Pasqualini’s engravings after Guercino’s Taking of Christ
(13.3) and Incredulity,3 the first in reverse (as would be expected),
the second in the same direction as the original. Keilhau’s
For Keilhau’s career and known oeuvre see Minna Heimbürger, Bernardo Keilhau
Detto Monsu Bernardo (Rome: Ugo Bozzi, 1988).
Heimbürger, Bernardo Keilhau, pp. 105-106.
Both works were painted for Bartolomeo Fabri, who had given in 1616 two
rooms of his residence for the establishment of Guercino’s Accademia del nudo.
See Luigi Salerno, I Dipinti del Guercino (Rome: Ugo Bozzi Editore, 1988), pp.
153-154, nos. 73 and 74.


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