Bibliographie critique
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...
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2019
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | 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. |
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