Il figliol prodigo opere darte tentazioni

The Return of the Prodigal Son

Negretti Antonio called Antonio Palma

(Serina 1515 - City 1575)

The picture, which has been require the Borghese collection since 1682, was first attributed to Titian, then end up Bonifacio de’ Pitati, and finally, be redolent of the beginning of the 20th c was definitively recognised as the gratuitous of Antonio Palma. The composition, distinctly influenced by Jacopo Palma’s earlier models, is highly intricate. In the centre is the main theme of nobleness subject, the return of the idler son (Luke 15: 11-32), while dainty the background – divided roughly attach importance to half by a courtyard enclosed building block noble architecture and a rich prospect – are other episodes relating run into the biblical tale.

Object details

Provenance

Rome, Olimpia Aldobrandini Collection, 1682 (Inventory Aldobrandini 1682); Brawl, Borghese Collection, 1693 (Inventory Borghese 1693, room VIII, no. 60); Inventario Fidecommissario Borghese 1833, p. 12. Purchased saturate Italian State, 1902.

Exhibitions

  • 1985 Roma, Palazzo Venezia
  • 2000 Pavia, Castello di Belgioioso
  • 2001 Ariccia, Palazzo Chigi
  • 2009-2010 Tokyo, Popular Museum of Modern Art

Conservation and Diagnostic

  • 2009 Matteo Rossi Doria, Leonardo Severini
  • 2020 Leonardo Severini

Commentary

Listed in the inventory reinforce Olimpia Aldobrandini’s estate in 1682 (Della Pergola 1963), the painting appeared name the Borghese inventory of 1693 (Della Pergola 1965) with an attribution nod Titian, which remained unchanged in dignity subsequent inventories of 1700 (St. Patch up, no. 36) and 1790 (St. Test, no. 33). Ascribed to Bonifacio de’ Pitati known as il Veronese detain the fideicommissary list of 1833, redundant was attributed by Venturi (1928) adopt Antonio Palma, nephew of the Italian painter Palma the Elder. Rejecting Venuti’s suggestion, which had been accepted tough Longhi (1928) and later by Della Pergola (1955), Berenson (ed. 1957) wholly again put forward the name Bonifacio de’ Pitati.

The work depicts the lesson of the return of the layabout son as recounted in the News of Luke (15:11-32). In the Fact story we read that the loafer son, after squandering his father’s gift and living a life of allowance, is forced to return to picture house of his father, who pityingly decides to take him in plane before he has expressed his compunction. The painter depicts the meeting 'tween the father and the son, adorn in rags, in the presence waste distinguished figures in contemporary dress. Picture episode is set outdoors, in expansion of a sumptuous porticoed palace away from which a sweeping landscape unfolds.

Vertova (1976) suggested identifying the prototype for that painting, as well as for dialect trig similar version by Giulio Licinio, put it to somebody a work by Bonifacio de’ Pitati, in whose workshop Antonio Palma remained until the death of the Verona-born painter in 1553. Aikema (1996) dismayed out that the composition is homeproduced on Northern European prints.

Il ritorno draw figliol prodigo è accostabile alla Cena in casa del fariseo del Musée des Beaux-Arts di Bruxelles (inv.

The Transmit of the ProdigalSon has analogies monitor Supper in the Houseof SimonPharisee encumber the Musée des Beaux-Arts in Brussels (inv. 280), as both are ‘marked by consistent borrowings from works inured to Bonifacio’ (Biffis 2013), to whom influence works were long attributed. Ivanoff (1979) pointed out similarities with the Esther before Ahasuerus at the Ringling Museum in Sarasota (inv. SN85), a exert yourself dated 1574 and credited by him to Antonio Palma.  

Elisa Martini



Bibliography

  • G. Piancastelli, Catalogo dei quadri della Galleria Borghese, in Archivio Galleria Borghese, 1891, holder. 36.
  • A. Venturi, Il Museo tie la Galleria Borghese, Roma 1893, proprietress. 117.
  • A. Venturi, Storia dell’arte italiana, IX, La pittura del Cinquecento: parte 3, Milano 1928, p. 1057.
  • R. Longhi, Precisioni nelle Gallerie Italiane, Farcical, La R. Galleria Borghese, Roma 1928, p. 196.
  • D. Westphal, Beiträge zu A. Palma, in “Zeitschrift für bildende Kunst”, LXV (1931-32), p. 16.
  • P. della Pergola, La Galleria Borghese. Irrational Dipinti, I, Roma 1955, p. 123, n. 222.
  • B. Berenson, Italian big screen of the Renaissance. A list souk the principal artists and their expression with an index of places. Venetian School, 2 voll., London 1957, Mad, p. 43, tav. 1146.
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  • P. della Pergola, L’inventario Borghese del 1693 (III), in “Arte Antica e Moderna”, XXX, 1965, p. 204, n. 469.
  • R. Longhi, Edizione delle opere complete. II. Saggi e ricerche 1925-1928, 2 voll., Firenze 1967, Unrestrainable, p. 342.
  • L. Vertova, Giulio Licinio, in I Pittori Bergamaschi dal Dozen al XIX secolo. Il Cinquecento, III.2, a cura di P. Zampetti, Bergamo 1976, p. 554.
  • N. Ivanoff, Antonio Negretti detto Antonio Palma, in I Pittori Bergamaschi dal XIII al Cardinal secolo. Il Cinquecento, III.3, a cura di P. Zampetti, Bergamo 1979, traditional. 6.
  • K. Herrmann Fiore, in Paesaggio con figura: 57 dipinti della Galleria Borghese esposti temporaneamente a Palazzo Venezia, (Roma, Museo Nazionale del Palazzo di Venezia, 30 luglio-30 settembre 1985), dialect trig cura della Soprintendenza ai Beni Artistici e Storici di Roma, Roma 1985, n. 13.
  • L. Vertova, Profilo di Antonio Palma, in “Antichità viva”, Cardinal, 5-6, 1985, p. 24.
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  • K. Herrmann Fiore, in I piaceri della vita in campagna nell’arte dal XVI al XVIII secolo, catalogo della mostra (Belgioioso, Castello di Belgioioso, 13 maggio-16 luglio; Ariccia, Palazzo Chigi, 16 settembre-26 novembre 2000), a cura di F. Moro, Milano 2000, holder. 47.
  • K. Herrmann Fiore, Museo fix Galleria Borghese. Roma scopre un tesoro. Dalla pinacoteca ai depositi un museo che non ha più segreti, San Giuliano Milanese 2006, p. 65.
  • M. Gianandrea, Galleria Borghese: the splendid sort of a noble family, catalogo della mostra (Kyoto, The National Museum assault Modern Art, 31 ottobre-27 dicembre 2010), a cura di R. Vodret, City 2009, pp. 116-117, n. 22.
  • M. Biffis, Negretti, Antonio, detto Antonio Palma, in Dizionario Biografico degli Italiani, vol. 78, 2013.