Réapparition d’un Moïse de Guerchin

Réapparition d’un Moïse de Guerchin

A very dark and dirty painting representing Moses Carrying the Tablets of the Law attracted my attention at the headquarters of the Associazione Donne Ebree Italiane in Florence. Despite its poor condition, it seemed to come from the circle of Guercino. The restoration carried out under my directi...

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Auteur principal: Bonsanti, Giorgio
Format: Article ou chapitre numérique
Langue:Français
Publié: 2019
Accès en ligne:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_204_0065RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2019-2-page-65?lang=fr https://doi.org/10.3917/rda.204.0065 Réapparition d’un Moïse de Guerchin Bonsanti, Giorgio2019 fre Revue de l'art | 204 | 2 | 2019-10-26 | p. 65-71 | 0035-1326 RDA_20476 A very dark and dirty painting representing Moses Carrying the Tablets of the Law attracted my attention at the headquarters of the Associazione Donne Ebree Italiane in Florence. Despite its poor condition, it seemed to come from the circle of Guercino. The restoration carried out under my direction by the Florentine restorer Rossella Lari removed the heavily repainted areas that especially covered the sky and the landscape, and revealed the presence of a tree on the right side. Guercino’s style became recognizable: the attribution was confirmed by the providential discovery of an engraving by Giovan Battista Pasqualini (here in an example from the Pinacoteca Nazionale in Bologna) that reproduced the painting and affirmed that it was the invention of Giovan Francesco da Cento, that is to say Guercino, whose name was Giovan Francesco Barbieri, and that the date was 1630. It has been established that the inscription in Hebrew letters on the Tablet of the Law is exact. This painting was probably the most important example of those, very few in number, that Guercino painted on the same theme around 1630. While we do not know for certain who commissioned the work, we can trace the path that led it from Pesaro and the collection put together by Salvatore Della Ripa in the years 1770-1780 to Florence.Cairn free access
language Français
format Article ou chapitre numérique
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1/Bibliothèque numérique/Cairn/
description A very dark and dirty painting representing Moses Carrying the Tablets of the Law attracted my attention at the headquarters of the Associazione Donne Ebree Italiane in Florence. Despite its poor condition, it seemed to come from the circle of Guercino. The restoration carried out under my direction by the Florentine restorer Rossella Lari removed the heavily repainted areas that especially covered the sky and the landscape, and revealed the presence of a tree on the right side. Guercino’s style became recognizable: the attribution was confirmed by the providential discovery of an engraving by Giovan Battista Pasqualini (here in an example from the Pinacoteca Nazionale in Bologna) that reproduced the painting and affirmed that it was the invention of Giovan Francesco da Cento, that is to say Guercino, whose name was Giovan Francesco Barbieri, and that the date was 1630. It has been established that the inscription in Hebrew letters on the Tablet of the Law is exact. This painting was probably the most important example of those, very few in number, that Guercino painted on the same theme around 1630. While we do not know for certain who commissioned the work, we can trace the path that led it from Pesaro and the collection put together by Salvatore Della Ripa in the years 1770-1780 to Florence.
author Bonsanti, Giorgio
spellingShingle Bonsanti, Giorgio
Réapparition d’un Moïse de Guerchin
author_facet Bonsanti, Giorgio
author_sort Bonsanti, Giorgio
title Réapparition d’un Moïse de Guerchin
title_short Réapparition d’un Moïse de Guerchin
title_full Réapparition d’un Moïse de Guerchin
title_fullStr Réapparition d’un Moïse de Guerchin
title_full_unstemmed Réapparition d’un Moïse de Guerchin
title_sort réapparition d’un moïse de guerchin
publishDate 2019
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2019-2-page-65?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.204.0065
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