Jacopo Negretti, called Palma the Younger (1544... Lot 295

Jacopo Negretti, called Palma the Younger (1544 - 1628) Portrait of a bearded young man Oil on canvas 41.3 x 29.7 cm Other inscriptions: on the verso of the frame, in pencil a scarcely legible indication "ho t, l. 29 ya Carsu 162" (?) Distinctive elements: on verso of frame and frame, in black marker, "LK 58" Bibliography: D.S. Pepper, "Annibale Carracci's Venetian Portraits," in "Arte documento," XIII, 1999, pp. 200 and 203 (ill. fig. 8) Conservation status. Support: 80% (reintelo) Conservation status. Surface: 85% (some color falls and retouching of different periods in the left part of the face, background, collar and forehead, as well as, on the left, between the eye and temple, and at the right and lower margins; reduced consumption of pictorial matter, for example in the eye on the left) In sixteenth-century Venetian production, portraiture assumed a significant and socially distinguished role. Great masters such as Titian, Tintoretto and Veronese devoted themselves to it, and the spread of this pictorial genre soon became enormous. The collocation of our painting has long been debated because of its quality and ability to recall even distant illustrious models, from Venice to Emilia, finally landing on the persuasive restitution to the corpus of Palma the Younger. The work was published by Pepper in 1999 as "Portrait oil sketch of a bearded man," along with two similar portraits, all with attribution to Annibale Carracci: "We now turn to three portraits that I believe illustrate Annibale's deepening fascination with Titian. Malvasia reports that Annibale had painted a copy of Titian's St. Peter Martyr to learn directly from the master. The three portraits presented here (figs. 7, 8, 9) shared the saturated colors of Titian's palette, the free brush work of Annibale's Venetian manner, nd the gaze of the subject directed toward the observer noted in Palazzo Pitti painting. In all three we find the spontaneity and vivacity we have come to expect in Annibale's portraits." Remarkably, Pepper himself, in considering the attributional history of the portraits in publication, remarks as "typical" the competing attributions to Palma il Giovane, Leandro Bassano and Domenico Tintoretto (Pepper 1999, p. 200). In fact, even for the canvas under review, the attribution to Carracci is not shared by Daniele Benati, who for the "markedly Venetian features" brings the work "closer to Palma il Giovane or to an artist related to him" (communication of October 23, 2023). (... continued: full card in the catalog pdf at the link https://goforarts.com/doc/VB_IT_2_2/Meraviglie_Atto_II_HR.pdf . The catalog also includes lots not available on online platforms, including many of the most prestigious).