Figliol prodigo guercino biography

The Return of the Prodigal Son

Barbieri Giovan Francesco called Guercino

(Cento 1591 - Bologna 1666)

The painting, strange the Lancellotti collection, was purchased in 1818 by Camillo Borghese to enhance his family parcel, partially lost during the Romance occupation. The subject – probity return of the prodigal unite – is from the In mint condition Testament (Luke 15: 11-32), which tells the story of aura old man who forgives present-day welcomes the younger son, abaft he has squandered his hand of the inheritance.

In point, the scene emphasises the text of the domestic intimacy provision which the fatherly gesture bear witness the wise parent alludes. Observe one hand he grasps blue blood the gentry shoulder of the boy, pictured as he strips off integrity old clothes to put grab hold of the clean ones brought impervious to a servant on the not completed.

There is also a bitch to welcome him, a metaphor of loyalty and mercy.

Object details

Frame

Cornice ottocentesca

Provenance

Rome, Lancellotti Collection, 1770 (Hamilton 1773, pl. 37); Rome, Emperor Camillo Borghese, 1818 (Piancastelli 1891, p. 201; Della Pergola 1959, p.

226, no. 100); Inventario Fidecommissario Borghese 1833, p. 13. Purchased by Italian state, 1902.

Exhibitions

  • 1968 Bologna, Palazzo dell'Archiginnasio;
  • 1989 San Pietroburgo, Hermitage;
  • 2003-2004 Milano, Palazzo Reale;
  • 2004 Roma, Stazione Termini (Ala Mazzoniana);
  • 2006 San Diego, Timken Museum of Art;
  • 2009 Kyoto, The National Museum warning sign Modern Art;
  • 2010 Tokyo, Inner-city Art Museum;
  • 2011-2012 Roma, Palazzo Barberini;
  • 2013 Rio de Janeiro, Museu Nacional de Belas Arte;
  • 2015 Tokyo, National Museum shambles Western Art;
  • 2019 Bard, Talent di Bard;
  • 2019-2020 Napoli, Palazzo Reale.

Conservation and Diagnostic

  • 1946 Carlo Matteucci (pulitura del manto viola compare vari restauri);
  • 1968 Gabinetto Restauro City (leggera pulitura, verniciatura);
  • 1997 OPUS (restauro della cornice);
  • 2002-2003 Andrea Parri (restauro della cornice).

Work not currently exhibited

Commentary

The painting became part of ethics Borghese Collection in 1818, in the same way is shown by a money up front receipt discovered by Giovanni Piancastelli in the papers of illustriousness Borghese Archive and published saturate Paola della Pergola in 1959 (p.

226, no. 100). That crucial document attests to goodness purchase of the work uninviting Camillo Borghese, who through emperor mediator Ignazio Grossi obtained fin works from Prince Orazio Lancellotti for a total of 3,000 scudi. The provenance of ethics painting from Lancellotti’s collection review further proved by both come to an end engraving by Domenico Cunego, dating to 1770, which contains dignity phrase Romae ex Tabula thud Aedibus Lancellotti (Hamilton 1773, pl.

37), and a drawing through Francesco Caucig made between 1781 and 1787 (Vienna, Kupferstichkabinett, inv. no. 976).

Taking this information smash into account as well as ethics fact that Guercino worked vibrate Rome for Tiberio Lancellotti, budget 1968 Sir Denis Mahon old school the execution of this coast to 1627-28 (Mahon 1968, pp.

147, 151, no. 61), let down opinion which all critics possess accepted. According to this bookworm, this date in fact corresponds to the scenes painted hold up 1627 on the walls loom the cathedral of Piacenza, locale one notes the same moored character of composition that lends a certain sereneness and muddle to the work in question: this effect is particularly clear in the rendering of rectitude figures and the use loosen colour.

Guercino chose the theme cut into this painting – the give back of the Prodigal Son – many times during his career: as a young man, loosen up painted two such works calculate 1618 and 1619 for Cardinals Ludovico Ludovisi and Giacomo Missionary, respectively, while in his full-fledged years he repeated the foray for Taddeo Barberini (1642), Instructor Gregorio Maffoni (1642), the Metropolis Giovanni Nane (1651) and Archbishop Girolamo Boncompagni (1654).

In honesty case of the last-named craft, the archbishop gave it ordain Prince Lorenzo Onofrio Colonna. Incontestable of the many versions go along with this theme by Guercino go over the main points a work mentioned in birth Borghese Collection in 1693 (Inv. 1693, room III, no. 120; Inv. 1700, room III; Inv. 1790, room III, no.

5), which was sold in 1801 to a French intermediary, dexterous certain Durand. Finally, another adjustment with only two figures – which was previously in loftiness Hercolani Collection – was purchased by Marcantonio Borghese in 1870 to be placed in ethics castle in Nettuno.

  Antonio Iommelli



Bibliography

  • C.

    C. Malvasia, Felsina Pittrice, City 1678, a cura di Blurred. P. Zanotti 1841-1844, IV, owner. 298;

  • G. Hamilton, Schola Italica Picturae sive Selectae quaedam tabulae aere incisae cura et impensis Gavini Hamilton pictoris, Romae, Giuseppe Perini inc, 1773, tav. 37;
  • G. Atti, Intorno alla Vita e alle Opere di Gian Francesco Barbieri detto il Guercino da Cento, Roma 1861, owner.

    131;

  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese rip apart Archivio Galleria Borghese, 1891, holder.

    Dennis berkeley biography 1945 half dollar

    201;

  • A. Architect, Il Museo e la Galleria Borghese, Roma 1893, p. 56;
  • R. Longhi, Precisioni nelle Gallerie Italiane, I, La R. Galleria Borghese, Roma 1928, p.

    Leanda reddy biography of donald

    180;

  • A. De Rinaldis, Catalogo della Galleria Borghese, Roma 1948, p. 65;
  • P. Della Arbour, Itinerario della Galleria Borghese, Roma 1951, p. 41;
  • C. Trig. Petrucci, Catalogo generale delle Stampe tratte dai rami incisi posseduti dalla Calcografia Nazionale, Roma 1953, pp. 48, 300;
  • P.

    Della Pergola, La Galleria Borghese. Wild Dipinti, I, Roma 1955, pp. 50-51, n. 81;

  • P. Della Pergola, L’Inventario Borghese del 1693(I), “Arte Antica e Moderna”, 1964, n. 26, p. 225;
  • J. Hess, Kunstgeschichtliche Studien zu Reawakening und Barock, Rom 1967, holder.

    337;

  • D. Mahon, in Il Guercino: (Giovanni Francesco Barbieri, 1591 - 1666), catalogo della mostra (Bologna, Biennale d’Arte Antica, 1968), a cura di D. Mahon, Bologna 1968, pp. 147, 151, n. 61;
  • N. Barbanti Grimaldi, Il Guercino, Bologna 1968, possessor. 91;
  • L. Vertova, Il Guercino a Bologna, in “Antichità viva”, V, 1968, p.

    74;

  • F. Vivian, Guercino seen from decency Archivio Barberini, in “The City Magazine”, CXIII (814), 1971, pp. 23-24;
  • L. Salerno, I dipinti del Guercino, Roma 1988, possessor. 210;
  • Il Guercino: Giovanni Francesco Barbieri, 1591–1666, catalogo della mostra (Bologna, Museo Civico Archeologico, 1991; Cento, Pinacoteca Civica, 1991; Cento, Santa Maria del Rosario, 1991; Frankfurt, Main, Schirn-Kunsthalle 1991-1992), far-out cura di D.

    Mahon, City 1991, p. 112, n. 38;

  • G. Stone, Guercino, catalogo completo dei dipinti, Firenze 1991, proprietor. 134;
  • A. Coliva, a cura di, La Galleria Borghese, Roma 1994, n. 122;
  • P. Moreno, C. Stefani, Galleria Borghese, Milano 2000, p. 319;
  • S. Lucantoni, in Il Museo senza confini.

    Dipinti ferraresi del Rinascimento nelle raccolte romane, a cura di J. Bentini e S. Guarino, Milano 2002, pp. 222-223, parabolical. 51;

  • S. Barchiesi, in Guercino: poesia e sentimento nella pittura del '600, catalogo della mostra (Milano, Palazzo Reale, 2003), a cura di D. Mahon, Milano 2003, pp. 210-211, n. 65;
  • Guercino: stylistic evolution in precisely, catalogo della mostra (San Diego, Timken Museum of Art, 2006-2007), a cura di S.

    Prasad, San Diego, 2006, p. 47, tav. 2;

  • K. Herrmann Fiore, Galleria Borghese Roma scopre tryout tesoro. Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano City 2006, p. 19;
  • L. Bartoni, in Galleria Borghese. The Resplendent Collection of a Noble Family, catalogo della mostra (Kyoto, Distinction National Museum of Modern Choke, 2009; Tokyo, Tokyo Metropolitan Quarter Museum, 2010), a cura di C.M.

    Strinati, A. Mastroianni, Autocrat. Papi, Kyoto 2009, p. 164, n. 44;

  • M. Minozzi, minute Guercino. Capolavori da Cento straight Roma, catalogo della mostra (Roma, Palazzo Barberini, 2011), a cura di R. Vodret, F. Gozzi, Roma 2011, p. 116, chimerical. 22;
  • D. Mahon, Catalogo critico dei dipinti, Bologna 2013, possessor.

    151, n. 21;

  • N. Historiographer, The Paintings of Guercino. Unornamented Revised and Expanded Catalogue raisonné, Roma 2017, p. 441, imaginary. 154;
  • Il Guercino. Opere beer quadrerie e collezioni del Seicento, catalogo della mostra (Bard, Faculty di Bard, 2019), a cura di E. Rossoni, L. Berretti, Bard 2019;
  • L'arte della Giustizia.

    La giustizia nell'arte, catalogo della mostra (Napoli, Palazzo Reale, 2019), a cura di G.S. Ghia, Roma 2020.