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Giovanni Antonio Bazzi

Italy (Vercelli 1477 -  Siena 1549 ) Wikipedia® : Giovanni Antonio Bazzi
BAZZI Giovanni Antonio Der Schmerzensmann (ecce Homo)

Nagel
Mar 26, 2009
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Variants on Artist's name :

Bazzi Giovanni Antonio

 

Artworks in Arcadja
33

Some works of Giovanni Antonio Bazzi

Extracted between 33 works in the catalog of Arcadja
Giovanni Antonio Bazzi - Study Of A Standing Man

Giovanni Antonio Bazzi - Study Of A Standing Man

Original
Estimate:

Price:

Gross Price
Lot number: 49
Other WORKS AT AUCTION
Description:
Giovanni Antonio Bazzi, called Sodoma

VERCELLI 1477 - 1549 SIENA

STUDY OF A STANDING MAN, FOR A ST. SEBASTIAN OR A CHRIST AT THE COLUMN

Red chalk, on a very slight white preparation;

bears recent black chalk attribution: A. Sacchi

402 by 194 mm; 15 13/16 by 7 5/8 in

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Saleroom Notice

Provenance

René de Menthory, 1930 (from an inscription on the old mount, now lost: René de Menthory 16 Janvier 1930 beau dessin italien d'un caractère particulierment puissant attribué anciennement à Andrea Sacchi);

sale, Vienna, Dorotheum, 23 May 2011, lot 61 (as Gian Antonio Sogliani);

London, Private Collection

Literature

E. Testori and A. Marengo, 'Risarcimento a Sodoma,' Le Frontiere dell' arte. Una raccolta di testi di Marco Rosci con saggi in suo onore, Novara 2013, pp. 113-118, reproduced pp. 108, 114-115, 117

This large and powerful red chalk study of a standing male figure was first attributed to Sodoma on stylistic grounds by Francesco Frangi, an attribution since accepted by a number of other scholars. Drawn from life, it could have been intended as a study for a St Sebastian or a Christ at the Column, although the latter seems more likely. Since the corpus of drawings by Sodoma is very slim (and his drawings rarely come to the market), this sheet is of great importance in shedding light on the development of the artist's very individual and robust style.

Almost nothing is known of Sodoma's drawing style before his work at Monte Oliveto, completed in 1508, for which three small red chalk drawings relating to the fresco of St Benedict predicting the downfall of Montecassino, first published by Patrizia Zambrano
1
, are in the Biblioteca Ambrosiana in Milan.
2
The figure in the present sheet is clearly drawn from life with a delicate use of red chalk, and the modelling has both a sculptural and a classical feeling. The muscles catch the light that subtly defines all the forms. The face, mostly in shadow but dramatically lit on the forehead, exhibits a rather harsh physiognomy that reflects both the Piedmontese and Lombard traditions. When first publishing the drawing in 2013, Edoardo Testori stressed Sodoma\’\’s strong stylistic link with the Milanese artistic centre of the late quattrocento, inspired above all by personalities such as Foppa and Bramante whose influences are clearly evident in our drawing. Both Frangi and Testori recognized in the subtle use of the shading in red chalk, mostly built with thin parallel strokes which cover the whole surface of the body, a technique very much associated with artists from Lombardy and the Piedmont, including Sodoma\’\’s master Martino Spanzotti and Defendente Ferrari, but they also stressed that the subtle execution and the chiaroscuro modelling revealed a knowledge of Central Italian masters from the turn of the 16th century.
3
Following Sodoma's apprenticeship with Spanzotti, which was mostly spent in Vercelli and finished in 1497, the artist is known to have worked in or near Siena from about the year 1501, where he would have been exposed to a completely new and different artistic vision. Between 1497 and 1501 there is, though, a gap of four years in which Sodoma could have spent the undocumented period in Milan that his style implies he did, and although there is no record that he ever met or worked with Leonardo, the two artists could have overlapped there for some two years (Leonardo left Milan in 1499), and it is most probable that Sodoma would have seen The Last Supper. A clear Leonardesque influence is evident in the present study, not least in the red chalk medium, in which Sodoma seems to have worked comfortably throughout his career, surely an inheritance from his Milanese experiences. The particular shade of red chalk used in the present sheet appears to be the same as in Sodoma's late study of St George and the Dragon, in the British Museum
4
, which relates to the artist's 1518 painting in the Kress Collection at the National Gallery of Art, Washington.
5

Although our drawing seems not to be connected to any known work by the artist, Testori has convincingly argued that there are close similarities in style and execution between this sheet and some of Sodoma\’\’s painted works, for example the Christ at the column fresco in Monte Oliveto, and another fresco of the same subject now in the Pinacoteca, Siena.
6
It is also revealing to compare the facial type of the figure in this drawing with some of the protagonists in the fascinating fresco of the LX Chapel (Cappella della Pietà) in the Sacro Monte in Varallo, a work convincingly attributed to Sodoma by Andreina Griseri in 1964
7
and probably datable to between June 1504 and September 1505, when there is another lacuna in the documents relating to Sodoma's activities.

The most convincing dating for this remarkable drawing would seem to be after Sodoma\’\’s return to Siena in circa 1509, a proposal that has been confirmed by Roberto Bartalini.
8
We see here not only the strong influences from Sodoma's North Italian origins but also an Umbrian quality that typically permeates his style, and the way in which Sodoma absorbed both these lessons and merged them in his own unique artistic expression makes him one of the most fascinating and intriguing artistic personalities of his time.

1
P. Zambrano, 'Un nuovo disegno del Sodoma per Monteoliveto Maggiore,' Paragone, XLI (1990), 23 (487), pp. 59-61, pls. 50-51
2
Inv. F263 inf. no. 5 and inf. n.17
3
Testori and Marengo, op. cit., p. 113
4
London, British Museum, Inv. no. 1952,0510.8;

5
F. Rusk Shapley, Italian Paintings fifteenth to sixteenth Century, London 1968, pp. 114-115, reproduced fig. 351
6
Testori and Marengo, op. cit., p. 116 and pp. 114-115
7
A. Griseri, 'Una proposta per Sodoma giovane,' Paragone, 171 (1964), pp. 54-59, pls. 47-59 a and b
8
Testori and Marengo, op. cit., p. 118
Giovanni Antonio Bazzi - The Holy Family With The Infant Baptist In A Landscape

Giovanni Antonio Bazzi - The Holy Family With The Infant Baptist In A Landscape

Original -
Estimate:

Price:

Gross Price
Lot number: 130
Other WORKS AT AUCTION
Description:
LOT 130
PROPERTY OF A CANADIAN PRIVATE COLLECTOR
GIOVANNI ANTONIO BAZZI, CALLED SODOMA
VERCELLI 1477 - 1549 SIENA
THE HOLY FAMILY WITH THE INFANT BAPTIST IN A LANDSCAPE
tondo, tempera and oil on panel
600,000—800,000 USD
diameter: 30 in.; 76.2 cm.
PROVENANCE
Prince Golinicheff Koutousoff, Saint Petersburg, probably by1903, from whom acquired by;Nicholas Riabouchinsky, Moscow (His sale, New York, American ArtGalleries, 26 April, 1916, lot 22, reproduced, selling for $8,500,the record price of his sale);With Kleinberger Galleries, New York;Mr. and Mrs. Cyrus Hall McCormick, Chicago;With French & Co., New York;Sale: Sotheby's, London, 11 December, 1985, lot 4, there purchasedby A. Deveraux;With Gianfranco Luzzetti, Florence, from whom acquired by thepresent owner.
EXHIBITED
Chicago, Art Institute, July-October 1919;London, Grosvenor House, June 1990;Florence, Galleria Luzzetti, 18 September- 6 October, 1991, no.19.
LITERATURE AND REFERENCES
Bulletin of the Art Institute of Chicago, September 1919, vol.13, p. 94, reproduced, p. 89;F. Frangi, "Il Sodoma: un Compianto giovanile e qualche indicazionesulle fonti figurative", Paragone, 473, pp. 66-67;Collezione Gianfranco Luzzetti: dipinti, sculture, disegni,XIV-XVIII secolo , entry by A. Tartuferi, Florence 1991, pp. 92-95,cat. no. 19, reproduced, p. 93;D. Radini Tedeschi, Giovan Antonio Bazzi, detto il Sodoma: La vita,le opere e gli allievi di uno dei massimi artisti del Rinascimento,Subiaco 2010, p. 130, cat . no. 16 (as dateable to 1504).
CATALOGUE NOTE
The preeminent artist working in Siena in the opening decades ofthe cinquecento, Sodoma has remained a somewhat mercurial figure tomost modern connoisseurs. This is in no small part due to Vasari'sassesment of his career, which appears to have been tainted by thewriter's personal animus against Sodoma's character. Nevertheless,he found an avid and enthusiastic audience in his adopted city ofSiena, working for the most important religious and privatepatrons, and was only rivaled late in his life by the youngerpainter Beccafumi. This impressive tondo is an early work of Sodoma, painted beforehe left Siena on his first trip to Rome in 1508. The artistproduced a small number of paintings of this format during theyears of 1502-1508, a type that had remained popular with Tuscanpatrons; indeed, a document of 1506 records the artist's purchaseof round panels for just this purpose.1 Stylistically,the present panel displays the varying artistic influences ofSodoma's early career, not only the marked Umbro-Tuscan characterof the Madonna and the Infants Christ and Baptist, but the stonger,much more naturalistic physiognomy of Saint Joseph, unimaginablewithout the artist's exposure during his training in northern Italyto the works of Leonardo da Vinci. Francesco Frangi (seeLiterature) dates the present panel to circa 1505-8, when Sodomawas working on one of his most important youthful commissions, thefrescoes for the Abbey of Monteoliveto Maggiore, near Siena. Theartist had been charged with the completion of a series of scenesof the life of Saint Benedict which Luca Signorelli had abandonedabout a decade previously, and such an important project whichplaced him on par with a famous older and well established masterclearly demonstrates the esteem in which he was already held. Other tondi by Sodoma have been dated to about the same time byscholars, and provide a useful comparison to the present work. AMadonna and Child with the Infant Baptist, Saint Joseph and TwoAngels (formerly Holfold Collection, London) has been dated toabout the same time, and in his analysis of the present panelAngelo Tartuferi notes the affinity of the Madonna in that pictureto the same figure in the present work (particularly the uppertorso, see Literature).2 Another Madonna a
Giovanni Antonio Bazzi - Pietà

Giovanni Antonio Bazzi - Pietà

Original 1545
Estimate:

Price:

Gross Price
Lot number: 151
Other WORKS AT AUCTION
Description:
g. duplessis, "la collection de m. camille marcille", in
baron leon de somzée, his sale, brussels, j. fiévez, 24 may 1904, lot 446;
camille marcille, chartres;
his deceased sale, paris, hôtel drouot, 6-7 march 1876, lot 3;
signed, inscribed and dated on a
provenance
literature and references
description
cartellino
Giovanni Antonio Bazzi - And

Giovanni Antonio Bazzi - And

Original 1535
Estimate:

Price:

Lot number: 11
Other WORKS AT AUCTION
Description:
pen and brown ink over black chalk (
pen and brown ink over black chalk (recto); black chalk (verso) this lot contains 1 item(s).
count l. moscardo;
provenance: count l. moscardo; with matthiesen gallery, london, old master drawings, june 1963, cat.8 (as campagnola); c.r. rudolf, his sale, in these rooms, 19 may 1977, lot 48 (as circle of domenico beccafumi); with pietro scarpa, exhibited paris, grand palais, dessins anciens, 1978, cat.3 (as lorenzo lotto); sale, london, phillips, 7 july 1993, lot 142 (as d. campagnola). exhibited: the katalan collection of italian drawings, 1995-6, cat.1. this study is an important addition to the corpus of sodoma's drawings. sold in the 1977 rudolf sale as circle of beccafumi, it was afterwards attributed to both campagnola and lotto before being recognised as sodoma and connected with the painting of st jerome in penitence, in the national gallery, london (ng 3947; see fig. 1, and c. baker and t. henry, the national gallery, london 1995, p.631, ng 3947). the painting has been dated circa 1535. as noted by george goldner in the 1995-6 exhibition catalogue, the drawing appears to be an early study for the painting; though there are many differences from the final composition, it clearly lays out the basic components of the scene. discussing the graphic handling of the drawing, which he describes as typical of the artist, goldner compares the faint chalk sketch on the verso (a second study of the composition, this time with the tree appearing in a more prominent position in front of the kneeling saint) to the drawing for the madonna del corvo in the uffizi, florence. the recto, meanwhile, is comparable in its heavily worked outlines and the solidity of the figure to a study for a resurrected christ on the verso of a sheet in the getty museum, which is preparatory for sodoma's fresco of 1535 in the palazzo pubblico, siena (see g. goldner and l. hendrix, european drawings.2, malibu 1992, p.119, cat.46, verso).
Giovanni Antonio Bazzi - Der Schmerzensmann (ecce Homo)

Giovanni Antonio Bazzi - Der Schmerzensmann (ecce Homo)

Original
Estimate:

Price:

Net Price
Lot number: 1693
Other WORKS AT AUCTION
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