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Onorio Marinari

Italy (1627 -  1715 ) Wikipedia® : Onorio Marinari
MARINARI Onorio The Rest On The Flight Into Egypt With The Infant Saint John The Baptist

Palais Dorotheum
Apr 30, 2019
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Artworks in Arcadja
93

Some works of Onorio Marinari

Extracted between 93 works in the catalog of Arcadja
Onorio Marinari - The Rest On The Flight Into Egypt With The Infant Saint John The Baptist

Onorio Marinari - The Rest On The Flight Into Egypt With The Infant Saint John The Baptist

Original
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Lot number: 552
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Description:
Onorio Marinari (Florence 1627–1716) The Rest on the Flight into Egypt with the Infant Saint John the Baptist, oil on canvas, 134x99cm, framed Provenance: possibly Palazzo Feroni, Florence; and thence by descent; sale, Pandolfini, Milan, 21 April 2015, lot 28 (as Onorio Marinari and Workshop); where acquired by the present owner Literature: S. Benassai, Onorio Marinari. Pittore nella Firenze degli ultimi Medici, Florence 2011, p. 217 DA 10 (as Workshop of Marinari); S. Bellesi, Pittura e Scultura a Firenze (Secoli XVI-XIX), Florence 2017, pp. 50–52, p. 51 ill. (as Onorio Marinari)
Onorio Marinari - Kleopatra

Onorio Marinari - Kleopatra

Original 1674
Estimate:

Price:

Lot number: 1591
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Description:
Onorio Marinari Kleopatra Öl auf Leinwand (doubliert). 78,5 x 64 cm. Gutachten Sandro Bellesi, Florenz. Literatur Sandro Bellesi: Pittura e scultura a Firenze (secoli XVI-XIX), Florenz 2017, S. 19, Abb. 21 sowie Abb. auf dem Rückumschlag. In einem dunklen Ambiente, dessen räumliche Struktur allein durch den am vorderen Bildrand wiedergegebenen Tisch mit einer purpurfarbenen Decke angedeutet wird, sehen wir eine schöne junge Frau, bekleidet nur mit einem herabfallenden weißen Gewand, den Kopf zur Seite geneigt, die Augen halb geschlossen. Während sich die linke Hand in einer graziösen, in virtuoser perspektivischer Verkürzung wiedergegebenen Geste zum Betrachter richtet, führt die Rechte eine kleine Schlange an ihre entblößte Brust. Durch diese Schlange lässt sich unser Gemälde als Darstellung der ägyptischen Königin Kleopatra identifizieren. Kleopatra (69 v. Chr. - 30 v. Chr.), eine der berühmtesten Frauen der Weltgeschichte, hat die Phantasie der Nachwelt von der Antike (Plutarch, Cassius Dio) über Shakespeare („Anthony and Cleopatra\“) bis heute angeregt. In über 100 Opern ist ihr Leben Gegenstand des Librettos, und Maler wie Allori, Guercino oder Guido Reni haben das Thema in der bildenden Kunst umgesetzt. Das vorliegende Gemälde wurde erst kürzlich von Professor Sandro Bellesi als Werk des Florentiner Malers Onorio Marinari identifiziert und umfänglich publiziert (Bellesi, op. cit.). Marinari, der bei seinem Cousin Carlo Dolci sowie Baldassare Franceschini ausgebildet wurde, malte vornehmlich religiöse Themen für geistliche Orden und private Auftraggeber; seine Werke waren auch bei den Medici und vielen anderen Adelsfamilien in Italien und Europa gefragt. Das vorliegende Gemälde ist eines der seltenen Beispiele für ein Historiengemälde des Künstlers aus dem Bereich der antiken Geschichte. Aus zeitgenössischen Quellen wissen wir von mehreren Ausführungen dieses Sujets durch Marinari. Während die Maße unseres Werks von denen des ehemals in der Sammlung Bartolini Salimbeni befindlichen Gemäldes abweichen (vgl. Fabia Borroni Salvadori: Le esposizioni d'arte a Firenze dal 1674 al 1767, in: Mitteilungen des Kunsthistorischen Instituts in Florenz XVIII, 1974, S. 100-101), könnte es sich bei unserem Werk dagegen um jene "bellissima Cleopatra" handeln, die sich im 17. Jahrhundert zusammen mit einem weiteren Werk Marinaris im Besitz des Malers Ignazio Hugford befunden hat (Elogio di Onorio Marinari, in: F. Raù u. M. Rastrelli: Serie degli uomini i più illustri nella pittura, scultura e architettura con i loro elogi, e ritratti incisi in rame cominciando dalla prima restaurazione fino ai tempi presenti, Bd. 11, Florenz, 1765, S. 169 Anm. 1). Im Vergleich mit der bislang einzigen anderen bekannten Version der Kleopatra aus der Hand Marinaris im Besitz der Fondazione di Studi di Storia dell'Arte Roberto Longhi (siehe Silvia Benassai: Onorio Marinari. Pittore nella Firenze degli ultimi Medici, Florenz 2011, S. 146, Nr. 73), sieht Bellesi in unserem Werk die deutlich höhere malerische Qualität. Näher stehen unsem Bild demnach die Arbeiten des Künstlers aus dem Höhepunkt seines künstlerischen Schaffens in den 70er und 80er Jahres des 17. Jahrhunderts, darunter „Christus und die Samariterin\“ im Museo de Arte in Ponce, Puerto Rico, einer „Heiligen Märtyrerin\“ im John and Mable Ringling Museum of Arts in Sarasota sowie der „Judith\“ des Szépmüveszeti Múzeum in Budapest (vgl. Benassai, op. cit., Nrn. 65, 55 und 56), für deren weibliche Figuren Marinari womöglich dasselbe Modell verwendete wie für unser Gemälde der Kleopatra. In der detaillierten Wiedergabe des Schmucks sowie der melancholischen Ausdruckskraft der Dargestellten finden sich Parallelen in zwei Darstellungen der Artemisia von Marinari, die sich im Besitz der Galerie Canesso, Paris, sowie einer unbekannten Sammlung befinden (siehe Bellesi, op. cit., S. 193, Tafel XLIX - III, Abb. 987). Im Hinblick auf die malerische Raffinesse, die Eleganz der Komposition sowie die betörende, sinnliche Wiedergabe der Dargestellten und ihres makellosen Inkarnats gehört unser Gemälde zu den wichtigsten Neuentdeckungen im Oeuvre Marinaris, dessen künstlerisches Profil durch die jüngsten Publikationen von Bellesi und Benassai neu umrissen wurde und der nun als einer der bedeutendsten Florentiner Künstler des späten siebzehnten Jahrhunderts gelten darf. Onorio Marinari Cleopatra Oil on canvas (relined). 78.5 x 64 cm. Expertise Sandro Bellesi, Florenz. Literature Sandro Bellesi: Pittura e scultura a Firenze (secoli XVI-XIX), Florence 2017, p. 19, fig. 21 and ill. on the backcover. In a darkened room, the contours of which are indicated only by the table draped with a purple cloth in the front edge of the image, we see a beautiful young woman semi-clad in a white robe falling from her shoulders, her head tilted to one side, her eyes half closed. While her left hand points towards the observer in a graceful gesture expertly rendered in foreshortening, the right hand holds a small snake to her exposed breast. The snake as an attribute allows us to identify the painting as a representation of the Egyptian queen Cleopatra. Cleopatra (69 B.C. - 30 B.C.) is one of the most famous women in world history, and has captured the public imagination since antiquity, from Plutarch and Cassius Dio, to Shakespeare's "Anthony and Cleopatra", to the present day. Her life has been the subject of over 100 opera librettos, and painters such as Allori, Guercino, and Guido Reni have all used her as a muse in their artistic works. The present canvas was recently identified by Professor Sandro Bellesi as the work of the Florentine painter Onorio Marinari, and published extensively (Bellesi, op. cit.). Marinari, who was trained by his cousin Carlo Dolci and by Baldassare Franceschini, mainly painted biblical themes for religious orders and private clients. His works were also in demand among the Medici and many other noble families throughout Italy and Europe. This painting is a rare example of a narrative painting by the artist with a motif from ancient history. From contemporary sources we know of several of Marinari's iterations of this theme. While the dimensions of this work differ from those of the painting formerly in the Bartolini Salimbeni Collection (cf. Fabia Borroni Salvadori: Le esposizioni d'arte a Firenze dal 1674 al 1767, in: Mitteilungen des Kunsthistorischen Instituts in Florenz XVIII, 1974, p. 100-101), it could be identical to the "bellissima Cleopatra", which is known to have been in the possession of the painter Ignazio Hugford in the 17th century (Elogio di Onorio Marinari, in: F. Raù & M. Rastrelli: Serie degli uomini i più illustri nella pittura, scultura e architettura con i loro elogi, e ritratti incisi in rame cominciando dalla prima restaurazione fino ai tempi presenti, vol. 11, Florence 1765, p. 169, note 1). Compared to the only other known version of Cleopatra by Marinari, owned by the Fondazione di Studi di Storia dell'Arte Roberto Longhi (cf. Silvia Benassai: Onorio Marinari, Pittore nella Firenze degli ultimi Medici, Florence 2011, p. 146, no. 73), Bellesi sees in the present work a higher painterly quality. The painting is closer in style to the artist's works from the peak of his career in the 1680s and 1690s. For example \“Christ and the Samaritan Woman" in the Museo de Arte in Ponce, Puerto Rico, a \“Holy Martyr" in the John and Mable Ringling Museum of Arts in Sarasota, as well as the "Judith" in the Szépmüveszeti Múzeum in Budapest (cf. Benassai, op. cit., nos. 65, 55 and 56). Marinari probably used the same model for the female figures in the latter works as he did for this Cleopatra. Parallels can also be found between the detailed reproduction of the jewellery and the melancholic expressiveness of the sitter
Onorio Marinari - Saint Margaret Of Antioch

Onorio Marinari - Saint Margaret Of Antioch

Original
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Price:

Gross Price
Lot number: 534
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Description:
Onorio Marinari

FLORENCE 1627-1715

SAINT MARGARET OF ANTIOCH

oil on canvas

65 by 50.6 cm. 25 1/2 by 19 7/8 in.

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Saleroom Notice

Provenance

Anonymous sale, London, Sotheby's, 14 May 1986, lot (as Carlo Dolci).

Literature

F. Baldassari, Carlo Dolci, Florence 2015, p. 330, illustrated cat. no. A12 (as workshop of Carlo Dolci).
Onorio Marinari - The Mystic Marriage Of Saint Catherine

Onorio Marinari - The Mystic Marriage Of Saint Catherine

Original
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Gross Price
Lot number: 47
Other WORKS AT AUCTION
Description:
Onorio Marinari (Florence 1627-1715) The Mystic Marriage of Saint Catherine oil on canvas 49 x 41½ in. (124.5 x 105.5 cm.) in a contemporary Florentine carved and giltwood frame
Lorenzi Gallery, Florence, where acquired in 1833 by, The Rev. John Sanford (1777-1855), Casino Torrigiani, Florence, and Connaught Place, London; his sale, Christie's, London, 9 March 1839, lot 88 (101 gns. to Edwards). Anonymous sale; Sotheby's, London, 9 December 1992, lot 257, as 'Attributed to Simone Pignoni'.
List of Paintings the property of the Revd J. Sanford in the Casino Torrigiani Novr 1833, no. 58; 1834, no. 59. Catalogue of Paintings purchased by the Revd John Sanford during his residence in Italy. 1830 and following years, no. 59. T. Brettell, Catalogue of Paintings, belonging to the Rev. J. Sanford; collected in Italy, from 1815 to 1827. Entrusted to G. Yates and Son, to be partially disposed of by private contract at 209 Regent Street, London, 1839, no. 59. B. Nicolson, 'The Sanford Collection', Burlington Magazine, XCVII, July 1955, p. 213, no. 28. F. Borroni Salvadori, \‘L\‘e esposizioni d\‘arte a Firenye dal 1674 al 1767\‘, Mitteilungen des Kunsthistorischen Institutes in Florenz, XVIII, 1974, p. 100, note 464. F. Guidi, \‘Pitture fiorentine del Seicento ritrovate\‘, Paragone, 297, 1974, pp. 60. and 62, notes 12, 14-15. G. Cantelli, \‘Una precisazione per Onorio Marinari e il Volterrano \‘, Antichita viva, XIV, 1975, p. 23. G. Corti, \‘La colezione Ughi in Firenze nel 1705\‘, Paragone, 1980, pp. 71 and 76. P. Bruscoli, \‘Onorio Marinari\‘, Il Seicento Fiorentino, III, 1986, p. 113. F. Baldassari, Simone Pignoni (Firenze 1611-1698), Torino, 2008, pp. 193-194, n. 27, as 'Onorio Marinari'. S. Bellesi, \‘Onorio Marinari\‘, Dizionario Biografico degli Italiani, LXX, Rome, 2008, p. 386. F. Baldassari, La pittura del Seicento a Firenze. Indice degli artisti e delle loro opere, Turin, 2009, p. 508. S: Benassai, Onorio Marinari. Pittore nella Firenze degli ultimi Medici, Florence, 2011, p. 162, no. 93 (with a poor black and white illustration).
Onorio Marinari - Judith And Holofernes

Onorio Marinari - Judith And Holofernes

Original
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Price:

Lot number: 208
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Description:
Onorio Marinari (Florence 1627-1715) Judith and Holofernes oil on canvas 46 3/8 x 34¾ in. (107.7 x 88.2 cm.)
S. Benassai, Onorio Marinari: Pittore della Firenze degli UltimiMedici, Florence, 2011 (forthcoming), as a studio work.
We are grateful to Mina Gregori for confirming the attributionto Onorio Marinari (personal communication, 27 May 2011). OnorioMarinari was one of the leading Florentine artists of hisgeneration. Trained by his father Gismondo, Onorio then studiedunder his cousin Carlo Dolci, whose most talented pupil he became.This was probably followed by a period in the studio of BaldassareFranceschini, il Volterrano, and a sojourn in Rome. Accepted intothe Florentine Accademia del Disegno in 1653, Marinari came into anindependent style which paid tribute to the aesthetic popularisedby Carlo Dolci with an originality and skill unmatched by hisFlorentine contemporaries. In addition to his pictorialachievements, Marinari was also interested in horology and music,and published a scientific treatise in 1674.
This picture has been requested for the exhibition Florence and theBaroque: Paintings from the Haukhohl Family Collection at theCrocker Art Museum, Sacramento, California, 5 November 2011 to 12February 2012.
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