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Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )
Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )  - Paintings & Drawings Style Louis XIV Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )  - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )  - Louis XIV Antiquités - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )
Ref : 92224
13 500 €
Period :
17th century
Provenance :
Medium :
Oil on canvas
Dimensions :
L. 31.5 inch X l. 43.31 inch
Paintings & Drawings  - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 ) 17th century - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 ) Louis XIV - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 ) Antiquités - Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )
Riccardo Moneghini

Old Master Paintings and antique furniture from the 17th and 18th centuries

+39 3488942414
Ecstasy of the Magdalene Stefano Danedi ( 1612 - 1690 )

Painting, oil on canvas, 80 x 110 without frame and 90 x 120 cm with frame, depicting an ecstasy of the Magdalene by the painter Giovanni Stefano Danedi known as Montalto (Treviglio 1612 - Milan 1690).

Prominent exponent of Lombard Baroque and member of an industrious family of artists - his brother Giuseppe collaborated with him - Stefano Danedi known as Montalto is the author to whom we can refer the beautiful unpublished painting presented here.

The training of our painter is still obscure: the style of his early works denounces the decisive ascendancy of Pier Francesco Mazzucchelli, known as Morazzone, who died however in 1626, when Giovanni Stefano was little more than a teenager; it is therefore very plausible that it later passed into the atelier of Francesco Cairo, another tutelary deity from the beginning. This is shown by a work such as the Dead Christ of the Museum of Castelvecchio in Verona, which on the other hand shows a strong affinity with our Magdalene: in the sharp and cold light that plastically detects the bodies with an indistinct background, captured in complicated poses and daring glimpses, as in the somatics of putti, quite similar. Also similar is the precise and sharp contour line, the angular and sharp cloths. There is a certain drama in these works, a theatricality that aims to amaze and emotionally involve the viewer.

Only recently has it been documented that Danedi went to Rome between 1641 and 1648: after this stay we find the first openings in the Baroque sense,
which show the assimilation of the lesson of Pietro da Cortona.

As we can easily ascertain, the painting has remarkable characteristics: first of all in the format as in the dark background, indistinct from which, through a beam of redeemed light, the figures emerge with a certain plastic prominence, with accentuated volumes, ivory and smooth skin. The number, the arrangement and the attitude of the angels are also interesting: the one at the bottom left, caught in a complicated screwed pose, sideways, peeps at the viewer, as if to request his attention towards the scene that is turning in front of the his eyes; the one holding up the Magdalene looks at him, to make sure that he is holding her firmly, while the other two fix their gaze on the attractive girl, observing, almost with satisfaction, how her religious fervor has made her strength fail. And again to note are the physiognomy and the foreshortening of the penitent's face, the pose of the right hand, placed on the shoulder of the child, the unfolding of the coiffeur and the mantle that curls up on her belly.

But it is above all in the technique that we recognize a remarkable executive capacity, index of an autonomous and original painter, able to autonomously interpret the Lombard painting of the time with respect to which the tones are colder, the light more lunar and clear in its incidences. , with a more meticulous and firm restitution of the reflections of the light on the hair, carried out through a less loose and casual painting, a more compact pigment in forming the image. Which is more simplified and abstract, also through that dark background that almost places the scene in another space, poised between reality and dream.

Comparisons with established works by Danedi allow us to relate this Ecstasy of the Magdalene to him: I begin with this particular taken from the Triumph of the Church which is part of a cycle of frescoes licensed for the Arese Borromeo palace in Cesano Maderno, in which, if we observe the cherubs, the hair returned with insistent graphics, the faces a little loaded from the wide tops with elongated mouths and fat cheeks, also recur in our painting, like the slightly crumpled rendering of the cloths or wings with sharp profiles.

Other elements in common are with the altarpiece depicting The Mass of St. Gregory the Great (in the church of Santa Maria Assunta in Cislago, from the fifth decade: see the anatomy of the simplified volumes of the female figure at the bottom right, with semi-spherical breasts or the foreshortening of the face with the chin detected by the shadow, the nose with squared tops and the orbits with swollen eyelids, of the figure raised by the angel, close to the canvas sub judice; moreover we find a similar lighting direction, with the bodies that emerge powerfully from the shadowy gulf of the background through a grazing and intense light where cold tones contribute to the abstraction of forms, Finally I see points in common between our canvas and this proof of maturity with The death of Lucrezia in a private collection: even here shadows dust settles on the back with a mother-of-pearl and greyish epidermis, the nipples are like two pink marbles, the phalanges of the hands have an elongated and pointed shape, the reflections on the hair of both women are returned with precise and subtle strokes of the brush, which almost niell the surface with a precious and refined effect.

Delevery information :

Delivery made with professional transporters. Each work of art is packed with a wooden box custom made and always insured.

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Riccardo Moneghini


17th Century Oil Painting Louis XIV