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Walsingham Mill
The Old Mill
Cokers Hill
Little Walsingham
Norfolk
NR22 6BN
England

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After Carlo Dolci (1616-1686) - Late 18th Century Italian School Antique Oil on Canvas Entitled "The Magdalene"

  • Reference : HAFDG
  • Availability : Available Now
  • Dimensions : With frame H 38 3/4 x W 32 1/4" / Without frame 28 1/4" x 22"
  • Price : £2950

Information

A stunning 18th Century copy of The Magdalene dated 1795 after Dolci's original work.

The original version of this work was painted during the 1660's and is in the collection of the Pitti Palace in Florence, Italy. The tenor of the painting is typical of Dolci's later career, as his paintings became more overtly instructive in purpose, modeling behaviour for the viewer. Here, Mary Magdalene is shown with the alabaster pot of ointment that, according to the Bible, she used to anoint Jesus' feet in humble penitence. She looks heavenward for guidance with her hand over her heart, a sign of the love that induced Jesus to forgive her sins.

Presented in its original 18thC Florentine gilt gesso frame. Bearing an inscription verso confirming that this was a copy done in 1795 by "Forini".  Please refer to the final image for the full inscription.

Condition - as per images.  Some surface dirt to the painting commensurate with age. This charming painting oozes 18thC charm and is ready to hang as it is.

About Carlo Dolci:

Carlo (or CarlinoDolci (25 May 1616 – 17 January 1686) was an Italian painter of the Baroque period, active mainly in Florence, known for highly finished religious pictures, often repeated in many versions.

He was born in Florence, on his mother's side the grandson of a painter. Although he was precocious and apprenticed at a young age to Jacopo Vignali, Dolci was not prolific. "He would take weeks over a single foot", according to his biographer Baldinucci. His painstaking technique made him unsuited for large-scale fresco painting. He painted chiefly sacred subjects, and his works are generally small in scale, although he made a few life-size pictures. He often repeated the same composition in several versions, and his daughter, Agnese Dolci, also made excellent copies of his works.

Dolci was known for his piety. It is said that every year during Passion Week he painted a half-figure of the Savior wearing the Crown of Thorns. In 1682, when he saw Giordano, nicknamed "fa presto" (quick worker), paint more in five hours than he could have completed in months, he fell into a depression.

Dolci's daughter, Agnese (died circa 1680), was also a painter. Dolci himself died in Florence in 1686.

Works of Art:

The grand manner, vigorous coloration or luminosity, and dynamic emotion of the Bolognese-Roman Baroque are foreign to Dolci and to Baroque Florence. While he fits into a long tradition of prestigious official Florentine painting, Dolci appears constitutionally blind to the new aesthetic, shackled by the Florentine tradition that holds each drawn figure under a microscope of academicism. Wittkower describes him as the Florentine counterpart, in terms of devotional imagery, of the Roman Sassoferrato. Pilkington declared his touch "inexpressibly neat ... though he has often been censured for the excessive labour bestowed on his pictures, and for giving his carnations more of the appearance of ivory than the look of flesh", a flaw that had been already apparent in Agnolo Bronzino.

Among his best works are a St Sebastian; the Four Evangelists at Florence; Christ Breaking the Bread; the St Cecilia at the Organan Adoration of the Magi in the National Gallery, London; the St Catherine Reading and St Andrew praying before his Crucifixion (1646) in the Palazzo Pitti. He completed his portrait of Fra Ainolfo de' Bardi, when he was only sixteen. He also painted a large altarpiece (1656) for the church of Sant' Andrea Cennano in Montevarchi. As was typical for Florentine painters, this was a painting about painting, and in it the Virgin of Soriano holds a miraculous and iconic painting of St Dominic.

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