Alessandro Rosi (Florence 1627-1967) a) St. Agatha cured by St. Peter b) St. Christine
Oil in octagonal canvas, cm 98×77 and cm 94×78
In engraved and golden wooden frame (total measures cm 125×114)
Oil on octagonal canvas, cm 98×77 and cm 94×78
In engraved and golden wooden frame (total measures cm 125×114)
Taken from the attribution sheet of Dr Francesca Baldassari, dated: Florence, 7th May 2019
“Two canvases must be attributed because of stylistic evidence to Alessandro Rosi’s catalogue, original and complex artist, who formed at the school of the brothers Cesare and Vincenzo Dandini.
Following new and decisive experiences, such as the study of Lanfranco and Pietro from Cortona, Rosi, starting from the 50s of the 17th, adopted that style which led him to success and which also marks these canvases: dense and catchy brush strokes, swollen drapery, vivacious and varnished colours, decisive games of chiaroscuro.
Both the episodes […] are observed from a close point of view which highlights the expressions and the gesturality of the figures.
[…] The mute dialogue, soaked in religious zeal, weaved between the two protagonists, both caught from the profile, it is enriched with details made with calligraphic precision and material richness: the sacred book and the palm of martyrdom in the foreground and the three blonde cherubs with the hair in the wind in the background. […] The range of colours of the clothing of the protagonists is very vivacious […].
In the pendant the tortures inflicted by the father and the emperor to the young and very beautiful Christine are represented. She was firstly segregated in a tower and later ran through with an arrow following her obstinacy not to retract Christian religion. Her livid ruddiness is an evident sign of the suffering she is subject to.
[…] The same pose for the same protagonist has been repeated by Rosi in the canvas depicting the Martyrdom of St. Christine stored in the Badia of San Michele Arcangelo in Passignano, which could be dated to 1686-1687.
A similar chronological collocation is to be extended to the couple of octagons under examination, destinated to private devotion, as indicated by the octagonal format too. The comparisons inside the pictorial catalogue of the last two decades of Rosi’s activity are exemplary. […]”
of Francesca Baldassari
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