Offered by Antichità Castelbarco
Simone De Magistris (Caldarola, c. 1538 – 1613) or workshop
San Genesio
Oil on canvas (84 x 62 cm. – Framed: 99 x 76 cm.)
In the heart of ancient Rome, amid the splendor and the persecution of Christians by Emperor Diocletian, unfolds the extraordinary story of Saint Genesio, one of the most fascinating figures in Christianity: a theater actor who, from the stage of a pagan play, was inspired by God and became a martyr, offering his life for his newly discovered faith.
As the patron saint of actors and musicians, his figure remains relevant today, prompting reflection on the redemptive power of faith, capable of converting even those who mock it.
The face of the young saint emerges from the darkness of the background with alabaster skin, framed by golden curls, and large, expressive eyes that do not seek out the viewer but are turned upward, as if enraptured by a divine vision in a dreamy expression.
These elements, imbued with a strongly Mannerist style, reflect in every minute detail the painterly characteristics of the eccentric Simone De Magistris (1538–1613), a painter trained in Venice and Rome, following the examples of Lotto and Federico Zuccari.
Although he is a little-known artist, his style is easily recognizable, combining a visionary, dramatic, and highly expressive Mannerism with the Marche tradition, featuring distinct Venetian and Tuscan influences.
The figure of the saint captivates the viewer with his magnetism, portrayed in a theatrical yet deeply spiritual manner, with an expression full of pathos—almost caricatural—that we find in several of De Magistris’s works, so unusual that it remains etched in the memory (see *Madonna del Rosario*, particularly the face of Saint Catherine of Siena, source: Fototeca Zeri: https://catalogo.fondazionezeri.unibo.it/scheda/opera/33754/).
Rounding out the iconography of the young martyr are his two unmistakable attributes: an antique violin, distinguished by its carved lion’s-head tailpiece—a detail of exquisite craftsmanship that evokes the strength of faith and the nobility of sacred art—and the palm frond (a symbol of martyrdom) shaped like a bow.
Even the details of the saint’s garments are a triumph of Mannerist contrasts: he wears a light-colored tunic decorated on the chest with horizontal gold stripes, over which he wears a piece of metal armor on his shoulder.
A band of antique-pink brocade crosses his torso diagonally, wrapping around his chest like a theatrical scarf, before tying at the waist with a striking golden sash. The vivid, bright, and iridescent hues of the fabrics—a direct legacy of Lorenzo Lotto’s influence—vibrate vigorously against the black background, accentuating the composition’s suspended atmosphere.
Delevery information :
We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.
We take great care We personally take care of the packaging, to which we devote a great deal of care: each work is carefully packed, first with arti- cle material, then with a custom-made wooden box.
Should you have the desire to see this or other works in person, we would be happy to welcome you to our gallery in Riva del Garda, Viale Giuseppe Canella 18, we are always open by appointment only.
