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Andrea Vaccaro

Italy (Napoli 1604 -  1670 ) Wikipedia® : Andrea Vaccaro
VACCARO Andrea Martha And Mary

Palais Dorotheum
Oct 17, 2017
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Artworks in Arcadja
127

Some works of Andrea Vaccaro

Extracted between 127 works in the catalog of Arcadja
Andrea Vaccaro - Saint Cecilia

Andrea Vaccaro - Saint Cecilia

Original 1630
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Lot number: 183
Other WORKS AT AUCTION
Description:
Andrea Vaccaro (Naples 1604-1670) Saint Cecilia, oil on canvas, 71 x 60.5cm, framed We are grateful to Riccardo Lattuada for confirming the attribution of the present painting on the basis of a high resolution digital photograph and forsuggesting that the present painting should be dated to circa 1630. During this initial phase of his career, Vaccaro fused the dominant style, the Bolognese classicism of Guido Reni, with the luminous local Caravaggist tradition. Vaccaro\’s output is distinguished by his depiction of female Saints represented in moments of profound devotion or inspiration. In these composition the Saint is often represented half length, with pale flesh tones that contrast against a dark ground. Moreover, he was always careful to omit any visible reference to cruelly of their violent martyrdoms. Instead, with a quietly intimate pictorial language (see R. Lattuada,I percorsi di Andrea Vaccaro (1604-1670), in: M. Izzo, Nicola Vaccaro (1640-1709). Un artista a Napoli tra Barocco e Arcadia, Todi 2009, pp. 49-108). The present painting represents Saint Cecilia, a Roman noblewoman who converted to Christianity shortly before she was to be married, an action for which she was consequently executed. In the present painting she is represented according to tradition, with the crown of flowers placed upon her head by the angel at the moment of her conversion, and intently playing a musical instrument, which is the distinctive attribute of her role as the patron saint of music. Specialist: Mark Mac Donnell
Andrea Vaccaro - Martha And Mary

Andrea Vaccaro - Martha And Mary

Original
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Price:

Lot number: 105
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Description:
Andrea Vaccaro (Naples 1604–1670) Martha and Mary, monogrammed lower left: AV (ligated), oil on canvas, 76 x 95.5 cm, framed Provenance: sale, Christie\’s, Rome, 9 December, 1997, lot 368 (as Andrea Vaccaro); Private collection, Italy; where acquired by the present owner Literature: R. Lattuada, I percorsi di Andrea Vaccaro (1604-1670), in: M. Izzo, Nicola Vaccaro (1640-1709). Un artista a Napoli tra Barocco e Arcadia, Todi 2009, pp. 94-95, fig. 95 (as Andrea Vaccaro) The present painting is registered in the Fototeca Zeri (no. 50492) as Andrea Vaccaro. The present painting represents the subject of Martha rebuking Mary for her vanity, which the Neapolitan painter Andrea Vaccaro revisited on several occasions. A version which is similar to the present painting, but slightly larger (100 x 127 cm), is conserved in the Utah Museum of Fine Arts, Salt Lake City (inv. no. UMFA1973.080.005.005). This Biblical subject was considerably sought after and was frequently replicated during the 17th century. The composition of the present canvas represents two half-length figures who fill the foreground; it is close to other private devotional works by the artist in which, when compared to his works for church commissions, appear to have a greater freedom in the choice of subject, and a notable quality of refined sensuality. In the present painting, Martha of Bethany, one of Christ\’s first followers as the Gospel according to Luke reports, rebukes her sister Mary for her inability to renounce the accoutrements of luxury: her rich dress, hairstyle and the jewellery and comb visible on the table in the foreground. However, Mary\’s unbound hair is a symbol of penitence and suggests that she has entered into a process of atonement, indeed she has begun to unlace her dress and has taken off her jewels. Andrea Vaccaro belonged to an important family of artists: his career was based in Naples and its immediate surroundings, where he received important ecclesiastical commissions, as well as working both for Neapolitan and Spanish clients. His training followed the current of Caravaggist painters, and in particular Ribera and Battistello Caracciolo. Perhaps not by co-incidence one of his first commissions was to copy Caravaggio\’s Flagellation of Christ, as a replacement for the original in San Domenico Maggiore, which was moved to Capodimonte. From the later 1630s Vaccaro asserted himself as a great interpreter of a new stylistic tendency that was then evolving in Naples. This was characterised by a neo-venetian palette influenced by Van Dyke and the noble compositional solutions of Bolognese painting. These features are evident in the present painting, in the luminous flesh tones and in the lively reflections on the subject\’s dress, along with the restrained overall pictorial language, typical of the artist, who enjoyed enormous success with the patrons of the age. Specialist: Mark Mac Donnell
Andrea Vaccaro -  The Penitent Saint Peter

Andrea Vaccaro - The Penitent Saint Peter

Original
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Gross Price
Lot number: 124
Other WORKS AT AUCTION
Description:
Andrea Vaccaro (Naples 1604-1670) The Penitent Saint Peter oil on canvas 38 ¼ x 29 ¼ in. (97.2 x 74.2 cm.) We are grateful to Professor Riccardo Lattuada for proposing the attribution on the basis of photographs. The examination under UV light is partially impaired by the thick varnish. However, it reveals minor scattered strengthenings probably associated to the craquelure, most notably to the flesh tones and to his right shoulder and arm." />
Andrea Vaccaro - Mary Magdalene

Andrea Vaccaro - Mary Magdalene

Original
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Gross Price
Lot number: 44
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Description:
Andrea Vaccaro (Naples 1604-1670) Mary Magdalene signed with monogram 'AV' (lower center) oil on canvas 40 x 30 3/8 in. (101.5 x 77.2 cm.) Following the defeat of French forces at the Battle of Garigliano in 1503, the Spanish took control of the city of Naples, establishing it as an important center of their empire. This occupation created opportunities for painters living and working in the city to expand their markets and for increased artistic exchange between Italy and Spain. One of the most successful painters in Naples to profit from the Spanish rule during the mid-17th century was Andrea Vaccaro. Native to the city, Vaccaro had by the 1630s become one of its leading artists, working frequently for Spanish patrons and regularly exporting his work to the Iberian Peninsula from 1635 (as a result, the Museo del Prado in Madrid has a significant collection of his works). His paintings graced all of the major local collections of the day, including that of the Viceroy of Naples, Gaspar de Bracamonte (c. 1595-1676). From early on Vaccaro was drawn to the dramatic chiaroscuro of Caravaggio, whose Flagellation, now in the Museo di Capodimonte in Naples, he copied. The present Magdalene reveals the unavoidable Caravaggesque idiom that characterized the prevailing pictorial styles in Naples and Rome, as well as the stark tenebrism of the Spanish painter Jusepe de Ribera, who had moved to Naples in 1616 and whose influence seems particularly evident here in the still life at lower left and the somber simplicity of the background. The Magdelene’’’’’’’’s delicate, porcelain features and lyrical pose and expression, however, relate more closely to the works of Guido Reni and Domenichino, whose softer, more elegant styles strongly influenced Vaccaro from around 1630, allowing him to blend the restrained classicism of these older Bolognese contemporaries with the drama and color of Naples. The evident popularity of the Magdalene as a subject during this period is attested to by the number of paintings Vaccaro produced of the saint. The Penitent Magdalene had become an enormously popular theme for artists during the Counter Reformation when she was celebrated as a model of repentance and reform. Indeed, the saint’’’’’’’’s contrition for her sins and her choice to lead an eremitic life after Christ’’’’’’’’s death, praying in solitary contemplation at Sainte-Baume in Southern France, was frequently cited as a guide for the faithful during the 17th century, with theologians and religious leaders arguing that ‘imitating the glorious Magdalene’’’’’’’’ and her penitent, contemplative life was the best means toward salvation (see Michelangelo da Venezia, in F. Mormando, ‘Teaching the Faithful to Fly: Mary Magdalene and Peter in Baroque Italy’’’’’’’’, Saints & Sinners: Caravaggio and the Baroque Image, exhibition catalogue, Boston, 1999, p. 119). This particular composition can be found in a number of pictures of varying quality, including paintings in the Museo del Capodimonte, Naples; the Galleria Nazionale di Palazzo Abatellis, Palermo; the State Hermitage Museum, St. Petersburg; the Palacio de Liria, Madrid; the Museu Nacional de Belas Artes, Rio de Janiero; and the Alte Pinakothek, Munich. Although numerous treatments of the composition exist, the present canvas and one in a private collection in Naples are the only two to bear Vaccaro’’’’’’’’s distinctively elegant monogram (fig. 1). Dott. Riccardo Lattuada, to whom we are grateful, has confirmed the attribution of the present work, dating it to the 1740s and noting that it is one of the best extant versions of the composition by the artist.
Andrea Vaccaro - Virgin Of The Annunciation

Andrea Vaccaro - Virgin Of The Annunciation

Original
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Gross Price
Lot number: 344
Other WORKS AT AUCTION
Description:
Andrea Vaccaro (Naples 1604–1670) Virgin of the Annunciation, signed with monogram lower right: AV (ligated), oil on canvas, oval, 85.5 x 70.5 cm, laid down on rectangular canvas, 87.5 x 72 cm, framed We are grateful to Riccardo Lattuada for confirming the attribution of the present painting on the basis of a high resolution digital photograph.
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