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Francesco Salvatore Fontebasso

(1709 -  1769 ) Wikipedia® : Francesco Salvatore Fontebasso
FONTEBASSO Francesco Salvatore Two Studies Of A Seated Nude Prisoner

Christie's
Sep 27, 2016
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Variants on Artist's name :

Fontebasso Francesco Salvator

 

Artworks in Arcadja
222

Some works of Francesco Salvatore Fontebasso

Extracted between 222 works in the catalog of Arcadja
Francesco Salvatore Fontebasso - A Lady With A Page And A Dog

Francesco Salvatore Fontebasso - A Lady With A Page And A Dog

Original
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Lot number: 627
Other WORKS AT AUCTION
Description:
Francesco Fontebasso (Venice 1707–1769) A lady with a page and a dog, oil on canvas, 60 x 45 cm, framed Provenance: Private collection, Italy; art market, Italy; where acquired by the present owner Literature: D. Succi, A. Delneri, Il Fiore di Venezia. Dipinti dal Seicento all\’Ottocento in collezioni private, Gorizia 2014, p. 146, no. 94, p. 148 ill. We are grateful to Bernard Aikema for confirming the attribution of the present painting after examination in the original and for his help in cataloguing this lot. This \‘genre picture\’ is a typical example of the production of Francesco Fontebasso, one of the most appealing masters of Venetian Settecento painting. Born in Venice in 1707, Francesco frequented the workshop of Sebastiano Ricci, whose impact is discernible in the fresh colours and free handling of the present picture. In 1728 the young Fontebasso was in Rome, where he absorbed classicist tendencies resulting in a more structured shaping of his figures; this is another element to be seen in our picture. Fontebasso is mainly known for his religious works and large-scale palace decorations, but he also executed a small number of half-figure \‘genre\’ scenes showing one or two figures engaged in lively, day-to-day occupations. A good example is a small canvas showing Two Children Playing (Venice, private collection; cfr. M. Magrini, Francesco Fontebasso 1707-1769, Venice 1988, cat. no. 86), which seems close to the present painting. With this sort of picture, Fontebasso was evidently catering for a market served above all by Giambattista Piazzetta and his pupil, Domenico Maggiotto, who was almost the same age as Fontebasso (being born in 1713). Compared to the darker tones and compact handling of the Piazzettesque pictures, the present work stands out by its light painterly touch and clear, almost pastel-like chromatic qualities.
Francesco Salvatore Fontebasso - Saint Leonard Between Saint Lawrence Giustiniani, Saint Andrew And Saint Nicholas

Francesco Salvatore Fontebasso - Saint Leonard Between Saint Lawrence Giustiniani, Saint Andrew And Saint Nicholas

Original
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Gross Price
Lot number: 162
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Francesco Fontebasso (Venice 1707-1769) Saint Leonard between Saint Lawrence Giustiniani, Saint Andrew and Saint Nicholas oil on canvas 22 ½ x 16 3/8 in. (57.2 x 41.7 cm.) Provenance Nicolson collection. Anonymous sale; Bukowskis, Stockholm, 28 September 1916, lot 40, as Giandomenico Tiepolo. Consul General Karl Bergsten (1869-1953), Villa Dagmar, Stockholm, since 1916, and by descent to the present owner. Literature K. Asplund, Catalogue de la collection de M. et Mme K. Bergsten, Stockholm, 1925, no. 47, as Giandomenico Tiepolo. F. Valcanover, 'La mostra "Venezia nell'arte" a Stoccolma', in Emporium, March 1964, p. 111. M. Magrini, Francesco Fontebasso, Venice, 1988, no. 144, fig. 25. Exhibited Stockholm, Nationalmuseum, Italienska tavlor och techningar i Nationalmuseum o. andra svenska och finska Samlingar, 1933, no. 140, as Giambattista Tiepolo. Stockholm, Nationalmuseum, Konstens Venedig, 20 October 1962-10 February 1963, no. 168. This fresh, spontaneously executed oil sketch dates to circa 1737. It is a variant of the modelletto formerly in the Foresti collection in Milan (see M. Magrini, Francesco Fontebasso, Venice, 1988, no. 91, fig. 26), and is comparable to the altarpiece of the church of San Salvador in Venice (op. cit. no. 179, fig. 24). Both palette and composition reveal a debt to the renowned 18th century Venetian painter, Giambattista Tiepolo. Indeed, the picture was mistakenly attributed to Tiepolo by Asplund, before it was recognized by Pallucchini and Moschini as a characteristic early work by Fontebasso (verbal communication, 1961).
Francesco Salvatore Fontebasso - The Madonna Appears To Saint Jerome

Francesco Salvatore Fontebasso - The Madonna Appears To Saint Jerome

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Gross Price
Lot number: 352
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Francesco Salvator Fontebasso (Venice 1707–1769) The Madonna appears to Saint Jerome, oil on canvas, shaped top, 31 x 23 cm, framed

Provenance: Private Collection, Treviso We are grateful to Mauro Lucco for confirming the attribution and for his help in cataloguing the present painting. This small canvas belongs to a group of similar arched top paintings, all with exactly the same dimensions. Divided between public and private collections, one was with Aldo Galli in Carate Brianza (see: M. Magrini, Francesco Fontebasso, Venezia 1988, fig. 33). A second, for which there is a drawing in the Pinacoteca Nazionale, Bologna (inv. 1616), is in a private collection, London. A third was in a private collection, Berlin and passed into the collection of D. Bossi, Munich, a fourth was at Finarte, Milan (Asta 15, 6th April 1965, lot 53) and finally, a fifth is in the Museo Civico, Padua (inv. 1068; see: G. Poli, in Da Padovanino a Tiepolo. Dipinti dei Musei Civici di Padova del Seicento e del Settecento, Milan-Padua, 1997, pp. 270-271). A second drawing in the Pinacoteca at Bologna (inv. 3657) attests to the presence of at least one more painting in this series: it shows the saint with his back turned and the Madonna facing outwards. Another group of paintings which represent the same subject, are somewhat smaller – about 29 x 22 cm – and without an arched top. They are divided between the Louvre (inv. M.I. 883), the National Museum at Budapest (inv. 666), the Galleria Nazionale at Trieste (inv. Mentasti 34) and the Lussinpiccolo Museum, Croatia (see: E. Martini, La pittura del Settecento veneto, Udine 1982, p. 529; Magrini, op. cit., pp. 184-185; G. Gamulin, Proposte attributive per il Settecento, in \“Arte Veneta\” 1975, pp. 244-245). At present it is impossible to tell if these originally also had an arched top as Magrini has suggested (p. 130). According to Zampetti (as reported by E. Martini op. cit. p. 529), all these small works were made for the confratelli of the Scuola di San Girolamo e della Vergine called \‘della Giustiza\’\’\’\’\’\’\’\’, which is still better known by the names \‘Scuola dei picài\’\’\’\’\’\’\’\’ or \‘di San Fantin\’\’\’\’\’\’\’\’ (today their buildings are the headquarters of the Ateneo Veneto). In all of these paintings, it is the presence of both Saint Jerome and the Virgin that makes this suggestion of patronage credible, especially in view of the fact that there was another Scuola di San Girolamo, but this had no dedication to the Virgin (its buildings are entirely destroyed today). The confratelli\’\’\’\’\’\’\’\’s habit of requesting the same subject, in the same format, but deployed in countless different ways is not recorded for any other Venetian religious organisation. The fact that Fontebasso himself repeated the figure of San Francesco di Paola is not comparable because the variant features in this case include the dimensions, whether the subject was shown full or half figure, and whether he was shown in a narrative or iconic context. Consequently, each work differs radically. What appears to be at the root of the Saint Jerome and the Virgin series, is the artist\’\’\’\’\’\’\’\’s own idea of a creative challenge, demonstrating the inexhaustible potentialities of his own imagination by representing the same scene with the same protagonists in countless variant forms. In this spontaneous series of small scenes, it appears that he wished to introduce a suggestion of time. Therefore, the Saint might be shown kneeling, seated, lying down or bent-over. Meanwhile the Virgin is presented in a side or three-quarter profile, or frontally, in a virtually infinite range of possibilities. In the present painting, Saint Jerome is shown studying and meditating on the sacred texts in his Syrian hermitage. Just beyond, there is an evidently Venetian hamlet with two bell towers. The birch tree, the rustic fence, the thatched hut, the docile lion are all features that reoccur in the paintings in the series. The moment is captured in bright light that seems capable of substituting the spatial definition of the forms with an almost intoxicating graphic context of scintillatingly calligraphic lines. The series is usual dated to around 1750-1760 and the present work can be compared to another work that could have been a catalyst for the series as a whole, the Saint Jerome in penitence a in the Museo Civico at Belluno (see: M. Lucco, Catalogo del Museo Civico di Belluno. I disegni, Venice 1989, pp. 94-96). It is closely connected to the frescoes for the Church of Santa Annunziata at Trento which are dated to 1736.
Francesco Salvatore Fontebasso - Two Studies Of A Seated Nude Prisoner

Francesco Salvatore Fontebasso - Two Studies Of A Seated Nude Prisoner

Original -
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Lot number: 44
Other WORKS AT AUCTION
Description:
Francesco Salvator Fontebasso (Venice 1707-1769)
Two studies of a seated nude prisoner
with number '34' (?)
black chalk, pen and brown ink, two shades of grey wash, with parallel vertical lines (probably from an account book), watermark three cresents (close to Heawood 871, Venice, datable 1740), unframed
14 7/8 x 10 5/8 in. (37.8 x 26.7 cm.)
Francesco Salvatore Fontebasso - The Continence Of Scipio

Francesco Salvatore Fontebasso - The Continence Of Scipio

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Lot number: 196
Other WORKS AT AUCTION
Description:
Francesco Fontebasso (Venice 1707-1769) The Continence of Scipio oil on canvas, shaped, unframed 66½ x 100 1/8 in. (169.5 x 245 cm.)
Anonymous sale; Christie\’\’\’\’s, London, 28 June 1974, lot 48 (£12,600), when acquired by the husband of the present owner.
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 180, 185, 195 & 196)
G.L. Marini (ed.), Catalogo Bolaffi della pittura Italiana del \‘600 e del \‘700, Turin, 1977, p. 66. M. Magrini, Francesco Fontebasso, Vicenza, 1988, p. 145, no. 68.
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