Lot Details

Description

Anton Maria Vassallo attr.

Assumption of the Virgin among Angels

Olio on canvas

in 61,02x98,42

UNDER RESTORATION. This large altarpiece dedicated to the Assumption of the Virgin displays the characteristic bipartite compositional structure, in keeping with the canon established by post-Tridentine Counter-Reformation culture. In the upper portion, the Virgin is shown ascending to heaven. Resting upon voluminous, chiaroscuro-laden clouds and enveloped in the golden radiance of her glory, she is accompanied by a host of robust, blond putti whose dynamic, flowing poses persuade the viewer to share in the mystery of the Assumption. Some blow trumpets, while the one highest above holds a garland of roses and rests upon three cherubs. The lower, earthly register is defined by a delicate landscape edged with silvery woodland, inhabited by four saints, all gazing intently at the Virgin above. From the left appears the Forerunner, with his characteristic reed cross bearing the scroll “Ecce Agnus Dei”; followed by Saint Catherine of Siena; then Saint Charles Borromeo; and finally the youthful, almost feminine Saint John the Evangelist. Within this pictorial ensemble, the cultural context is clearly defined, pointing directly to Genoa in the first half of the seventeenth century. The essential references are evident: the legacy of the Flemish masters, never so influential in Genoa as at this moment—the echo of Rubens in the robust angels with their full and expansive modeling. More specifically, however, one perceives the influence of Vincent Malò, the painter from Cambrai who trained in Antwerp before crossing the Alps. The physiognomy of Saint John the Baptist speaks of Vincent Malò, yet it is equally evident that this beautiful painting does not bear the Flemish hand. Rather, it is the work of a Genoese artist of stature: Anton Maria Vassallo, an intelligent assimilator of his master’s lessons. Vassallo interprets the themes and modes of his teacher through bacchanals of putti, sacred scenes intended for domestic devotion, and mythological subjects. The opening of his independent catalogue occurs in the 1630s, a period to which belongs, for example, the Assumption of the Virgin in a private collection, marked with the artist’s monogram. A comparison with that secure work highlights clear correspondences of form and style. According to Anna Orlando, a group of works can be placed in the second half of that decade, revealing the progressive flourishing of Vassallo’s art, with formulas and stylistic traits that increasingly reinterpret Malò’s teachings in a personal manner. There is no doubt that the genesis of our altarpiece corresponds with the moving achievements of this broad and more mature phase of the artist’s career.

From the critical analysis, Dott. Giuseppe Sava

The painting is accompanied by:

Expertise Dott. Giuseppe Sava

Dimensions

in 61,02x98,42

Provenance

Private collection

Conditions

UNDER RESTORATION.

Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each product to satisfy themselves as to condition and must understand that any statement made by Coradi Rare Finds is merely a subjective opinion.