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284:. This element of the work was originally more compressed into the right-hand section of the canvas, the architecture taking precedence. However, Domenichino reconsidered this layout and over painted an extension of the landscape onto the wall. Other alterations are also visible in the books, the hand of the right putto and the larger hill of the landscape.
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It was then auctioned at
Christie's again in 1899 on the death of Cecil Miles, 3rd Baronet who was Philip John Miles's great-grandson – this time it was bought in at 100 guineas and subsequently sold for 70 guineas to M. Colnaghi, acting as agent for Augustus Langham Christie of Tapeley Park,
234:), but another anonymous collector was allowed to acquire it on the condition that it be displayed to the public for three months each year. He then loaned it to the National Gallery in London from May 2010 to August 2011, where it had previously been displayed from 1992 to 1994.
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and an agricultural crisis depressing farm prices due to cheap imports from abroad, however, simultaneously attacked this landowning and banking family's sources of income and caused Sir Philip to seek to sell in 1884 at
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The painting descended via
Vincenzo Giustiniani's heir to Prince Benedetto Giustiniani, in whose posthumous inventory of 1793 it appears, then to Andrea Giustiniani, who in 1804 declined a purchase offer of 6,500
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149:. An alternative theory, put forward in Squarzina's analysis of the 1938 Giustiniani inventory, speculates that the work could be from before 1621. Others have concluded dates between 1624 and 1628.
272:. This is also evident in Domenichino's other large-scale treatments of the subject such as Madonna and Child with the Saints John the Evangelist and Petronius and the pendentive in the church of
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and one of the foremost scholars on the life and work of
Domenichino, put the work at around 1627 to 1629. This is due to stylistic similarities with works such as the Sant'Andrea della Valle's
161:. Delahante and W. Harris then sold it to Richard Hart Davis and it was then sold in around 1813 with the rest of Davis's collection to Philip John Miles. Inherited firstly by his son,
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respectively) are also included, all stated to be the same size as the Saint John. It has been suggested therefore that the four paintings were originally intended as a series.
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276:. The painting also includes an example of the artist's landscape painting, an aspect of his work that was particularly influential on the likes of
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Despite the prestigious commission, the date of the painting's execution remains unclear. Richard E. Spear, author of numerous publications on
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Devonshire and
Glyndebourne, East Sussex, part of the Christie family. The painting passed down through that family (later headed by
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where it, along with others in the family's extensive collection, could be viewed upon application. The impact of the
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The composition is said to have been inspired by classical sculpture, with some commentators pointing specifically to
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due to its history of ownership in the country. British galleries were unable to raise enough money to buy it (the
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light bearing down upon him. This was typical of the artist's style, continuing in the manner of late
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Domenichino
Masterpiece to Be Offered at Christie's Auction of Old Masters and 19th Century Art
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where part of the collection was among the first to be sold under the terms of
Gladstone's
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Domenico
Zampieri, Il Domenichino (Bologna 1581-1641 Naples) | Saint John the Evangelist
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for it. Andrea then had it taken to Paris, probably before 1806, where he sold it to
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is depicted as a young man accompanied by his traditional symbol the eagle and two
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259 cm × 199.4 cm (102 in × 78.5 in)
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305:"Domenico Zampieri, Il Domenichino (Bologna 1581-1641 Naples)"
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The painting is thought to have been commissioned by either
375:"Baroque painting by master Domenichino saved for nation"
362:'Saved' Domenichino painting loaned to National Gallery
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Glyndebourne family to sell Old Master for £10 million
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already being committed to an expensive deal to buy
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611:Portrait of Monsignor Giovanni Battista Agucchi
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576:Archery Contest of Diana and her Nymphs
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616:now usually attributed to
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491:Richard E. Spear Home
450:Gospel Figures in Art
424:Ignacio Villarreal.
108:Vincenzo Giustiniani
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261:and his own master
326:"Richard E. Spear"
227:Diana and Callisto
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545:Domenichino
463:Art Daily,
270:The Laocoon
255:chiaroscuro
238:Description
171:Leigh Court
112:Giustiniani
88:Domenichino
651:Categories
480:Christie's
230:, both by
204:export bar
180:Christie's
147:Saint John
136:Guido Reni
64:Dimensions
552:Paintings
469:Art Daily
104:Benedetto
614:(1604) (
452:, 2003.
379:BBC News
72:Location
629:Related
443:Sources
431:19 June
409:19 June
384:19 June
331:19 June
310:19 June
259:Raphael
116:Matthew
98:History
587:(1622)
579:(1616)
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251:gospel
232:Titian
54:Medium
36:Artist
288:Notes
247:putti
155:scudi
454:ISBN
433:2015
411:2015
386:2015
333:2015
312:2015
280:and
224:and
214:and
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126:(by
124:Luke
122:and
120:Mark
46:Year
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
