Details
CHARLES-JOSEPH NATOIRE (NÎMES 1700-1777 CASTEL GANDOLFO)
Ascension de la croix par des putti
avec inscriptions ‘Natoire’ (en bas à gauche) et ‘511’ (en haut à droite, à la plume et encre brune) et ‘N°3’ (sur le montage)
sanguine, pierre noire, lavis de sanguine, estompe
35,6 x 23,2 cm (14 x 9 1/4 in.)
Provenance
Baron Carlo Marochetti (1805-1867), puis par descendance au propriétaire actuel.
Post lot text
CHARLES-JOSEPH NATOIRE, PUTTI CARRYING THE CROSS, RED AND BLACK CHALK, RED CHALK WASH, STUMPING
Religious subjects form an important part of Charles-Joseph Natoire’s painted and drawn œuvre. This Ascension of the Cross into Heaven by Putti evokes the painted ceilings with figures seen da sotto in sù like the Apotheosis of Saint Louis painted by Natoire on the ceiling of the church of Saint-Louis-des-Français in Rome in 1756 (S. Caviglia-Brunel, Charles-Joseph Natoire (1700-1777), Paris, 2012, no. P.236, ill.). Based on the same iconography as the present drawing, a cross carried by a putti is visible in the upper left corner of the ceiling. The graphic style of this sanguine is typical of the drawings of the academician from Nîmes: the subtle work of stumping, heightened with a few light touches of black chalk, the round faces and half-closed eyes.
Details
CHARLES-JOSEPH NATOIRE (NÎMES 1700-1777 CASTEL GANDOLFO)
Ascension de la croix par des putti
avec inscriptions ‘Natoire’ (en bas à gauche) et ‘511’ (en haut à droite, à la plume et encre brune) et ‘N°3’ (sur le montage)
sanguine, pierre noire, lavis de sanguine, estompe
35,6 x 23,2 cm (14 x 9 1/4 in.)
Provenance
Baron Carlo Marochetti (1805-1867), puis par descendance au propriétaire actuel.
Post lot text
CHARLES-JOSEPH NATOIRE, PUTTI CARRYING THE CROSS, RED AND BLACK CHALK, RED CHALK WASH, STUMPING
Religious subjects form an important part of Charles-Joseph Natoire’s painted and drawn œuvre. This Ascension of the Cross into Heaven by Putti evokes the painted ceilings with figures seen da sotto in sù like the Apotheosis of Saint Louis painted by Natoire on the ceiling of the church of Saint-Louis-des-Français in Rome in 1756 (S. Caviglia-Brunel, Charles-Joseph Natoire (1700-1777), Paris, 2012, no. P.236, ill.). Based on the same iconography as the present drawing, a cross carried by a putti is visible in the upper left corner of the ceiling. The graphic style of this sanguine is typical of the drawings of the academician from Nîmes: the subtle work of stumping, heightened with a few light touches of black chalk, the round faces and half-closed eyes.
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