Francesco Fracanzano Paintings & Artwork for Sale | Francesco Fracanzano Art Value Price Guide

Jul. 26, 2024
Fracanzano, Francesco (Attrib.): Der heilige Jakobus der Ältere
Est: €10,000 - €20,000
Fracanzano, Francesco (attribution - St James the Elder (Monopoli 1612-1656 Naples) Kneeling with a staff in his hand, scroll on a stone ''inde venturus est iudicare vivos et mortuos'' (from the Apostles' Creed: ...from there he will come to judge the living and the dead). Oil on canvas, relined. 134.5 x 95 cm; not framed. // Fracanzano, Francesco (Attrib.) Der heilige Jakobus der Ältere (Monopoli 1612-1656 Neapel) Kniestück mit einem Stab in der Hand, auf einem Stein Schriftrolle ''inde venturus est iudicare vivos et mortuos'' (aus dem apostolischen Glaubensbekenntnis: ...von dort wird er kommen, zu richten die Lebenden und die Toten). Öl/Lwd., doubl. 134,5 x 95 cm; unger.
Kunstauktionshaus Schlosser
Jul. 18, 2024
Italian Baroque Neapolitan School of Francesco Fracanzano (Monopoli, 1612-Naples, 1656).
Est: €2,500 - €3,250
Oil on canvas. Oil on canvas measurements: 73 x 54 cm
Templum Fine Art Auctions
Feb. 28, 2024
Saint Jerome in Prayer, Francesco Fracanzano (Monopoli, 1612 - Naples, 1656), Italy, Neapolitan school, 17th century
Est: €25,000 - €27,500
Oil on canvas, measurements: 71 x 58 cm, measurements with frame: 82 x 76 cm
Templum Fine Art Auctions
Feb. 20, 2024
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) attribuito
Est: €1,200 - €1,800
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) attribuito San Pietro Olio su tela 84,5 x 66,5 cm L'opera, per una giusta comparazione, va avvicinata al San Pietro portato al martirio passato da Daguerre S.V.V. a Parigi il 28 marzo 2023. Oppure stilisticamente affine San Pietro Penitente dei Musei Civici di Pavia. In queste opere emergono le mani possenti e nodose, il volto meditabondo e contrito del santo con la fronte solcata da profonde e fitte rughe. Elementi, questi, che rimandano ad un accentuato realismo di derivazione caraveggesca e al crudo naturalismo riberesco, ovvero alle fonti d'ispirazione primarie del pittore pugliese. Trasferitosi a Napoli con la famiglia nel 1625, Francesco Fracanzano sposò, ventenne, la sorella di Salvator Rosa, Giovanna. Sempre a Napoli, secondo De Dominici, si formò con il fratello Cesare, nella bottega di Juseppe de Ribera. La ricchezza dei riferimenti culturali, non esclusivamente ribereschi, fa ipotizzare che le sue prime opere siano frutto dell’incontro del riberismo con le influenze di Antoon van Dyck. Sempre alla fase iniziale del pittore sono stati ricondotti quei dipinti in cui il Fracanzano citava brani di autentico naturalismo, sulla scia di Filippo Vitale, Giovanni Do, il Maestro degli Annunci ai pastori e Bartolomeo Bassante. In seguito, pur restando fedele al verbo del Ribera, appaiono nella sua pittura gli elementi classicistici, da Massimo Stanzione a Simon Vouet, elementi che nel progredire della sua attività divennero sempre più prevalenti. Alla metà del quarto decennio l’artista sposò le proposte di matrice fiamminga, adottando una tecnica in grado di conciliare le scelte pittoriche più innovative con una cura dei dettagli di Vouet, nonché il suo perlaceo incarnato dei volti, e l'austero contenimento della forma di Francesco Guarino e Bernardo Cavallino. Francesco Fracanzano (Monopoli 1612 - Naples 1656) attributed Saint Peter Oil on canvas 84,5 x 66,5 cm For a fair comparison, the artwork must be compared to Saint Peter Brought to Martyrdom by Daguerre S.V.V. in Paris on the 28th of March 2023. Or stylistically similar to Saint Peter the Penitent of the Civic Museums of Pavia. In these artworks emerge the powerful and gnarled hands, the meditative and contrite face of the saint with the forehead furrowed by deep and thick wrinkles. These elements refer to an accentuated realism of Caravaggio derivation and the raw Riberesque naturalism, or rather to the primary sources of inspiration of the Apulian painter.
Lucas Aste
Jan. 25, 2024
Escuela napolitana, atribuido a Atribuido a FRANCESCO FRACANZANO (Monopoli, 1612 - Nápoles, 1656). “Euclides”. Óleo sobre lienzo. Medidas: 131 x 101 cm.
Est: €10,000 - €12,000
Neapolitan school, attributed to Attributed to FRANCESCO FRACANZANO (Monopoli, 1612 - Naples, 1656). "Euclid". Oil on canvas. Measurements: 131 x 101 cm. Although at first the image seems to capture a devotional scene, the geometrical symbols that appear on the sheet of paper reveal that it is the representation of a mathematician. This type of portrait dedicated to philosophers, writers and even painters became popular thanks to Renaissance humanism, but reached its culmination during the Baroque period, as great patrons and collectors used to create galleries dedicated to the representation of illustrious men, either contemporary to themselves or characteristic of classical antiquity, thus creating completely idealised representations. In this case it is likely that it is a representation of Euclid, an ancient Greek mathematician considered to be the "father of geometry". He is best known for his treatise Elements, which laid the foundations of the geometry that largely dominated the field until the early 19th century. Along with Archimedes and Apollonius of Perga, Euclid is generally considered one of the greatest mathematicians of antiquity and one of the most influential in the history of mathematics. Very little is known about Euclid's life and most of the information comes from the philosophers Proclus and Pappus of Alexandria many centuries later. Medieval Islamic mathematicians invented a fanciful biography, and medieval Byzantine and early Renaissance scholars confused him with the earlier philosopher Euclid of Megara. The distinguishing mark of the Neapolitan school has always been its strong naturalistic character, its warm colour, with reddish and chestnut dominating, and the cultivation, together with the altar painting, of a type of realist painting as its best exponent. In Naples, Ribera's influence was equal to or greater than that of Caravaggio. His naturalism, more sensual and material, more vigorous and vehement, less intellectual than Caravaggio's, became more permeable over time to Venetian and Flemish influences, becoming richer in colour and lighter in technique, especially from 1635 onwards. From its subject matter and style we can situate this painting in the milieu of Francesco Fracanzano, an Italian painter who took part in the Masaniello rebellion and was the brother of Cesare Fracanzano, a pupil of Spagnoletto and teacher of Salvator Rosa, whose sister he had married. His married life was unhappy, as at his wife's instigation he committed crimes for which he was put to death in Naples in 1656.
Setdart Auction House
Dec. 13, 2023
Escuela napolitana, atribuido a Atribuido a FRANCESCO FRACANZANO (Monopoli, 1612 - Nápoles, 1656). “Euclides”. Óleo sobre lienzo. Medidas: 131 x 101 cm.
Est: €10,000 - €12,000
Neapolitan school, attributed to Attributed to FRANCESCO FRACANZANO (Monopoli, 1612 - Naples, 1656). "Euclid". Oil on canvas. Measurements: 131 x 101 cm. Although at first the image seems to capture a devotional scene, the geometrical symbols that appear on the sheet of paper reveal that it is the representation of a mathematician. This type of portrait dedicated to philosophers, writers and even painters became popular thanks to Renaissance humanism, but reached its culmination during the Baroque period, as great patrons and collectors used to create galleries dedicated to the representation of illustrious men, either contemporary to themselves or characteristic of classical antiquity, thus creating completely idealised representations. In this case it is likely that it is a representation of Euclid, an ancient Greek mathematician considered to be the "father of geometry". He is best known for his treatise Elements, which laid the foundations of the geometry that largely dominated the field until the early 19th century. Along with Archimedes and Apollonius of Perga, Euclid is generally considered one of the greatest mathematicians of antiquity and one of the most influential in the history of mathematics. Very little is known about Euclid's life and most of the information comes from the philosophers Proclus and Pappus of Alexandria many centuries later. Medieval Islamic mathematicians invented a fanciful biography, and medieval Byzantine and early Renaissance scholars confused him with the earlier philosopher Euclid of Megara. The distinguishing mark of the Neapolitan school has always been its strong naturalistic character, its warm colour, with reddish and chestnut dominating, and the cultivation, together with the altar painting, of a type of realist painting as its best exponent. In Naples, Ribera's influence was equal to or greater than that of Caravaggio. His naturalism, more sensual and material, more vigorous and vehement, less intellectual than Caravaggio's, became more permeable over time to Venetian and Flemish influences, becoming richer in colour and lighter in technique, especially from 1635 onwards. From its subject matter and style we can situate this painting in the milieu of Francesco Fracanzano, an Italian painter who took part in the Masaniello rebellion and was the brother of Cesare Fracanzano, a pupil of Spagnoletto and teacher of Salvator Rosa, whose sister he had married. His married life was unhappy, as at his wife's instigation he committed crimes for which he was put to death in Naples in 1656.
Setdart Auction House
Dec. 13, 2023
FRACANZANO FRANCESCO (1612 - 1656) - Portrait of a philosopher, probably Euclid
Est: €7,000 - €9,000
FRACANZANO FRANCESCO (1612 - 1656). Portrait of a philosopher, probably Euclid. Capitolium Art would like to thank Professor Riccardo Lattuada for confirming the attribution of the work on a photographic basis. Provenance: Private collection, Pesaro.. 75,50 x 95,00 cm.
Capitolium Art
Oct. 17, 2023
Attributed to FRANCESCO FRACANZANO (Monopoli, 1612 - Nápoles, 1656). "Saint Peter". Oil on canvas. Relined. It presents repainting and restorations.
Est: €12,000 - €14,000
Attributed to FRANCESCO FRACANZANO (Monopoli, 1612 - Naples, 1656). "Saint Peter. Oil on canvas. Re-retouched. It has repainting and restorations. Measurements: 63 x 48 cm; 82 x 65 cm (frame). Saint Peter (Bethsaida, c. 1 B.C. - Rome, 67) was, according to the New Testament, a fisherman, known for being one of the twelve apostles of Jesus. The Catholic Church identifies him through the apostolic succession as the first Pope, based among other things on Jesus' words to him: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". St. Peter could be said to have been Jesus' confessor, his closest disciple, the two being united by a very special bond, as narrated in both the canonical and apocryphal Gospels. From its subject matter and style we can situate this painting in the milieu of Francesco Fracanzano, an Italian painter who took part in the Masaniello rebellion and was the brother of Cesare Fracanzano, a pupil of Spagnoletto and teacher of Salvator Rosa, whose sister he had married. His married life was unhappy, as at his wife's instigation he committed crimes for which he was put to death in Naples in 1656.
Setdart Auction House
Sep. 28, 2023
Francesco Fracanzano, 1612 Monopoli – um 1656 Neapel, zugeschrieben
Est: €3,000 - €5,000
BILDNIS EINES BÄRTIGEN MANNES ODER APOSTELS Öl auf Leinwand. Doubliert. 62,5 x 49,5 cm. In vergoldetem Rahmen. Vor braunem Hintergrund, der nach rechts aufhellt, das Brustbildnis eines alten Mannes mit lichten grauen Haaren und einem grauen langen Bart. Er trägt ein einfaches braunes Hemd, hat eine hohe Stirn, buschige Augenbrauen und seine dunklen Augen blicken seitlich nachdenklich nach unten. Das Licht fällt von links oben herab und beleuchtet das Gesicht und den freien Brustbereich des Alten. Malerei mit starkem Hell-Dunkel-Kontrast. Kleine Retuschen. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (13701010) (18)
Hampel Fine Art Auctions
Sep. 28, 2023
Neapolitanischer Meister, Kreis des Ribera
Est: €10,000 - €15,000
BILDNIS EINES APOSTEL Öl auf Leinwand. Doubliert. 96 x 73 cm. In breitem ebonisiertem Profilrahmen. Den Ellbogen auf einem Tisch lehnend lehnt auf den Fingern der Hand der graubärtige Kopf eines nach links der Lichtquelle entgegenblickenden Mannes. Seine andere Hand hält ein offenes Buch. Die Darstellung erinnert in mancher Hinsicht an die Aposteldarstellungen Riberas, in dessen Dunstkreis auch unsere Darstellung entstanden sein dürfte. (1371281) (13)
Hampel Fine Art Auctions
Jun. 29, 2023
Francesco Fracanzano, auch genannt „Ciccio Fracanzano“, 1612 – um 1656, zug.
Est: €8,000 - €10,000
PORTRAIT EINES MANNES Öl auf Leinwand. Doubliert. 52,4 x 37 cm. In teilvergoldetem Rahmen. Vor dunklem Hintergrund ist das Brustbildnis eines alten Mannes mit grauem, langem Bart zu sehen. Mit in nachdenklichen Falten gezogener Stirn blickt er seitlich aus dem Bild. Durch die Beleuchtung der Situation von oben links wird ein starker Schatten auf den unteren Bereich des Gesichtes und den Hals gelegt. Gekleidet ist er mit einem einfachen hellbraunen Umhang. Das nahsichtige Portrait des alten Mannes zeigt die unverkennbaren Zeichen des neapolitanischen Naturalismus. Die starken Hell-Dunkel-Kontraste, die feine, einfühlsame Malerei mit besonderer Betonung der Physiognomie legen eine Zuschreibung an Francanzano nahe. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel.(1360172) (19)
Hampel Fine Art Auctions
Jun. 22, 2023
Francesco Fracanzano (1612/1656) (attr.) "San Gerolamo"
Est: €6,000 - €8,000
Dipinto ad olio su tela in cornice in legno dorato (lievi restauri). Cm 65x52 Oil painting on canvas in a gilded wooden frame (slight restorations). 65x52 cm
Galleria Sarno
Jun. 21, 2023
ATTRIBUÉ À FRANCESCO FRACANZANO (1612-1656)
Est: €2,500 - €3,000
ATTRIBUÉ À FRANCESCO FRACANZANO (1612-1656) FIGURE D'HOMME BARBU Toile, un fragment, anciennement ovale Att. to F. Fracanazano, figure of a bearded man, canvas, a fragment, formerly oval 62 x 49 CM - 24,4 x 19,3 IN
Tajan
May. 04, 2023
Francesco Fracanzano (Monopoli, 1612 – Napoli, 1656), bottega di, Memento Mori
Est: €2,000 - €4,000
Francesco Fracanzano si trasferisce molto presto a Napoli, per entrare nella bottega di uno dei pittori più rinomati del momento: Jusepe de Ribera. Inizialmente il pittore aderisce allo stile pastoso e cromaticamente violento del suo maestro, ma nella sua fase più matura se ne discosta gradualmente, per abbracciare una lettura più classicistica degli elementi compositivi e una sempre più convinta adesione alle proposte fiamminghe; ma vera dote del pittore è di certo la capacità di legare queste esperienze tra loro, sintetizzandole in uno stile unico. Quest’opera di bottega raffigura un saggio anziano che sembra discorrere con qualcuno all’esterno della scena riguardo la fugacità dell’esistenza: sembra voler rammentare al suo interlocutore l’ineluttabilità della morte; non è da escludere la possibilità che in passato facesse parte di un pendant. Il taglio estremamente ravvicinato, l’espressività tutta protesa “fuori campo” dell’uomo lasciano presumere l’esistenza di un dipinto a lui corrispondente.
Telearte
Feb. 24, 2023
Francesco Fracanzano (attribuito a) (Monopoli 1612-Napoli 1656) - Saint Francis of Paola in prayer
Est: -
Oil painting on canvas Oil painting on canvas depicting Saint Francis of Paola in prayer. Work without frame. "The canvas can be attributed to the painter who worked in Naples in the seventeenth century, Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656) and represents San Francesco di Paola in prayer, with the typical iconographic attributes of the saint consisting of the habit, the book (which partially reads "Charitas" ) with a skull above it, placed below and to the side of the figure.The painting has the typical characteristics attributable to Fracanzano such as the full and lumpy material density, the color of the skin and of the hands which veers towards a reddish, which highlights a naturalism of Caravaggesque matrix which in part adopts the teachings of the Ribera school but to which it adds the tonal and drawing values of Guercino, the Carracci as well as Reni himself.The work can be ascribed to the period of pictorial experience of Fracanzano more contiguous to the example Pio del Ribera. A very similar work is exhibited at the Museum of Dubrovinik (Croatia), with some differences (shown in parallel in this sheet with the use of the image for comparison) concerning the position of the book, placed vertically and with the pages unfolded, the skull in the background, the composition that seems to have become more lumpy by now, accentuating the currant structure, the kneeling figure of the saint is seen in full. For the work taken for comparison, entirely attributable to the same author, for a purely philological need, we report a detailed study which has highlighted that "the second half of the seventeenth century refers to the San Francesco di Paola of Dubrovnik, where the reprise of the riberesque characters in the face subsides in the drafting of the soft and wide folds of the habit, which cover the entire composition and allow for this combination a valid comparison both with works by Francesco Fracanzano, such as with the San Benedetto of San Gregorio Armeno and the hermit Saint Paul of the church of Sant'Onofrio dei Vecchi in Naples, both with the mature production of Angelo Solimena and with the youthful one of his son Francesco, above all with regard to the revival of the ways of Lanfranco" (On the traces of Neapolitan painting in Croatia between the seventeenth and eighteenth centuries by Mario Alberto Pavone - University of Palermo). But it should be emphasized that many works referring to figures of Saints, passed from the antiques market and contained in private and museum collections, created by Francesco Fracanzano, present an identical expressive approach and analogous pictorial and compositional qualities, this confirming the validity of the attribution to the same painter. The painting retains the original seventeenth-century frame; a very old re-lining from the mid-nineteenth century has been maintained which, being in good condition, has not been replaced (nor raised for other purposes)." Yes thanks Francesco Amato for the authoritative opinion.
ArtLaRosa
Dec. 08, 2022
Joseph being sold into slavery
Est: £15,000 - £20,000
Francesco Fracanzano Monopoli 1612 - Naples 1656 Joseph being sold into slavery oil on canvas unframed: 101.7 x 108.3 cm.; 40 x 42⅝ in. framed: 121 x 145.5 cm.; 47⅝ x 57¼ in. Bid on Sotheby's
Sotheby's
Dec. 08, 2022
Francesco Fracanzano, 1612 Monopoli – um 1656 Neapel, zugeschrieben
Est: €3,000 - €4,000
Bildnis eines bärtigen Mannes oder Apostels Öl auf Leinwand. Doubliert. 62,5 x 49,5 cm. In vergoldetem Rahmen. Vor braunem Hintergrund, der nach rechts aufhellt, das Brustbildnis eines alten Mannes mit lichten grauen Haaren und einem grauen langen Bart. Er trägt ein einfaches braunes Hemd, hat eine hohe Stirn, buschige Augenbrauen und seine dunklen Augen blicken seitlich nachdenklich nach unten. Das Licht fällt von links oben herab und beleuchtet das Gesicht und den freien Brustbereich des Alten. Malerei mit starkem Hell-Dunkel-Kontrast. Kleine Retuschen. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (13401116) (18)
Hampel Fine Art Auctions
Dec. 08, 2022
Francesco Fracanzano, 1612 Monopoli – um 1656 Neapel, zugeschrieben
Est: €5,000 - €8,000
Der Heilige Bruno Öl auf Leinwand. Doubliert. 125 x 98 cm. In dekorativem Rahmen. Der Heilige vor dunklem Hintergrund in weißer Ordenstracht mit Kapuze der Kartäuser und Tonsur. Er hat die Hände andächtig vor der Brust überkreuzt und blickt leicht in Richtung des Himmels, der an der oberen linken Bildecke durch einen gelben Schein aufreißt. Vor ihm auf einem Holzpult liegend ein dickes Buch. Malerei in reduzierter Farbigkeit. Retuschen. Der Künstler ist bekannt für seine Darstellungen in Nahsicht vor dunklem Hintergrund von einzelnen Aposteln, Philosophen und Heiligen, wie hier der Heilige Bruno. Anmerkung: Bruno von Köln (um 1027/1030 bis 1101) war Begründer des Kartäuserordens und wird als Heiliger verehrt. 1056 wurde er Leiter der Domschule von Reims. 1084 errichtete er eine Einsiedelei. 1091 gründete er eine weitere Kartause in La Torre in Kalabrien, wo er bis zu seinem Tod blieb. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen, als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (13300549) (2) (18) Francesco Fracanzano, also known as “Ciccio Fracanzano”, 1612 Monopoli – ca. 1656 Naples, attributed SAINT BRUNO Oil on canvas. Relined. 125 x 98 cm. In decorative frame.
Hampel Fine Art Auctions
Nov. 29, 2022
FRANCESCO FRACANZANO (attr. a)
Est: €3,000 - €5,000
(Monopoli, 1612 - Napoli, 1656) Figura di vecchio Olio su tela, cm 55X39,5 L'opera reca un'attribuzione collezionistica a Francesco Fracanzano, la cui fortuna critica sorprende in rapporto alle scarne notizie biografiche. Nato a Monopoli l'artista si formò nella bottega paterna e nel 1622 insieme al fratello Cesare si trasferì a Napoli per frequentare secondo il biografo Bernardo de Dominici la bottega di Giuseppe Ribera. Nel 1632 Francesco sposò la sorella di Salvator Rosa e morì verosimilmente durante la terribile pestilenza del 1656. Lo stile giovanile dell'artista è quindi di stretta osservanza riberesca, per poi modulare la sua arte in modo pittoricistico, evidenziando l'influenza di Van Dyck e degli artisti bolognesi, senza dimenticare quel gusto classicista di ascendenza romana, che verso la metà del secolo diviene preponderante. Ciò comportò uno schiarimento della tavolozza e un conseguente ammorbidirsi dei vigorosi impulsi caravaggeschi, pur non distanziandosi da un sincero naturalismo che in alcuni passaggi evoca similitudini con Bernardo Strozzi. Tali considerazioni suggeriscono una datazione alla maturità, in un momento in cui le declinazioni cromatiche d'influenza vandyckiana diventano preponderanti e così anche le peculiari fisionomie fortemente espressive. Nel nostro caso, si può infatti percepire che il volto sia un vero e proprio ritratto dal vero, in cui l'autore descrive con sorprendente naturalismo ogni dettaglio.
Wannenes Art Auctions
Nov. 04, 2022
Francesco Fracanzano (Monopoli, 1612 – Napoli, 1656), bottega di, Memento Mori
Est: €4,400 - €6,500
Francesco Fracanzano si trasferisce molto presto a Napoli, per entrare nella bottega di uno dei pittori più rinomati del momento: Jusepe de Ribera. Inizialmente il pittore aderisce allo stile pastoso e cromaticamente violento del suo maestro, ma nella sua fase più matura se ne discosta gradualmente, per abbracciare una lettura più classicistica degli elementi compositivi e una sempre più convinta adesione alle proposte fiamminghe; ma vera dote del pittore è di certo la capacità di legare queste esperienze tra loro, sintetizzandole in uno stile unico. Quest’opera di bottega raffigura un saggio anziano che sembra discorrere con qualcuno all’esterno della scena riguardo la fugacità dell’esistenza: sembra voler rammentare al suo interlocutore l’ineluttabilità della morte; non è da escludere la possibilità che in passato facesse parte di un pendant. Il taglio estremamente ravvicinato, l’espressività tutta protesa “fuori campo” dell’uomo lasciano presumere l’esistenza di un dipinto a lui corrispondente.
Telearte
Sep. 22, 2022
Francesco Fracanzano, 1612 Monopoli – um 1656 Neapel, zugeschrieben
Est: €6,000 - €8,000
Der Heilige Bruno Öl auf Leinwand. Doubliert. 125 x 98 cm. In dekorativem Rahmen. Der Heilige vor dunklem Hintergrund in weißer Ordenstracht mit Kapuze der Kartäuser und Tonsur. Er hat die Hände andächtig vor der Brust überkreuzt und blickt leicht in Richtung des Himmels, der an der oberen linken Bildecke durch einen gelben Schein aufreißt. Vor ihm auf einem Holzpult liegend ein dickes Buch. Malerei in reduzierter Farbigkeit. Retuschen. Der Künstler ist bekannt für seine Darstellungen in Nahsicht vor dunklem Hintergrund von einzelnen Aposteln, Philosophen und Heiligen, wie hier der Heilige Bruno. Anmerkung: Bruno von Köln (um 1027/1030 bis 1101) war Begründer des Kartäuserordens und wird als Heiliger verehrt. 1056 wurde er Leiter der Domschule von Reims. 1084 errichtete er eine Einsiedelei. 1091 gründete er eine weitere Kartause in La Torre in Kalabrien, wo er bis zu seinem Tod blieb. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen, als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (13300549) (2) (18) Francesco Fracanzano, also known as "Ciccio Fracanzano", 1612 Monopoli - ca. 1656 Naples, attributed SAINT BRUNO Oil on canvas. Relined. 125 x 98 cm. In decorative frame.
Hampel Fine Art Auctions
Sep. 20, 2022
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) attribuito
Est: €4,000 - €6,000
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) attribuito San Girolamo o Filosofo Olio su tela 49,5 x 37 cm Trasferitosi a Napoli con la famiglia nel 1625, Francesco Fracanzano sposa la sorella di Salvator Rosa, Giovanna. Secondo Bernardo De Dominici, il pittore si forma con il fratello Cesare a Napoli, nella bottega di Juseppe de Ribera. La ricchezza dei riferimenti culturali, non esclusivamente ribeschi, fa ipotizzare che le sue prime opere siano frutto dell’incontro del riberismo con le influenze di Antoon van Dyck. Sempre alla fase iniziale del pittore sono stati ricondotti quei dipinti in cui il Fracanzano cita brani di autentico naturalismo, sulla scia di Filippo Vitale, Giovanni Do, del Maestro degli Annunci ai pastori e Bartolomeo Bassante. In seguito, pur restando fedele al verbo del Ribera, appaiono nella sua pittura gli elementi classicistici, da Massimo Stanzione a Simon Vouet: aspetti che nel progredire della sua attività diverranno prevalenti. Alla metà del quarto decennio l’artista sposa le proposte di matrice fiamminga, adottando una tecnica in grado di conciliare le scelte pittoriche più innovative con la cura dei dettagli di Vouet, nonché il suo perlaceo incarnato dei volti, e l'austero contenimento della forma di Francesco Guarino e Bernardo Cavallino. A una fase successiva va riferita la tela raffigurante l'Ecce Homo del 1647, oggi conservata presso la collezione Morton B. Harris, a New York. Essa documenta come nel quinto decennio fosse rinata in Francesco la sensibilità naturalistica, momento marcatamente caratterizzato da asprezza compositiva. All'ultima fase dell'attività di Fracanzano appartiene la Morte di S. Giuseppe per l'Arciconfraternita dei Pellegrini del 1652. L’opera testimonia la ritrovata ieraticità guariniana accumunata dalla ripresa della sua vena classicistica, come si verificò nel resto della sua tarda produzione. Oltre alla convergenza stilistica e compositiva, tra l'opera in esame e le opere certe dell'artista, anche l’analisi sulla tecnica esecutiva conforta nell’attribuzione. Lo strato pittorico è grumoso e denso, e oltre a questa corposità materica riscontriamo il suo vigoroso effetto luministico e il vibrato cromatismo, sostenuto dal caratteristico arrossamento dei volti. La qualità che l’opera evidenzia, il tema impostato con equilibrio scenico e il vibrato naturalismo, a nostro giudizio, permettono di posizionare la tela nell’ultimo decennio di vita dell’autore. Francesco Fracanzano (Monopoli 1612 - Naples 1656) attributed St. Jerome or Philosopher Oil on canvas 49,5 x 37 cm
Lucas Aste
Jun. 22, 2022
ATTRIBUÉ À FRANCESCO FRACANZANO (1612-1656) Figure d’homme barbu Toile anciennement ovale Attr. to F. Fracanzano, Bearded man...
Est: €3,000 - €5,000
ATTRIBUÉ À FRANCESCO FRACANZANO (1612-1656) Figure d’homme barbu Toile anciennement ovale Attr. to F. Fracanzano, Bearded man figure, canvas, a fragment, previously oval 62 x 49,50 cm - 24,4 x 19,5 in.
Tajan
May. 24, 2022
Francesco Fracanzano (Monopoli 1612 - Napoli 1656)
Est: €7,000 - €10,000
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) Testa di santo Olio su tela Provenienza: collezione privata torinese 64 x 50 cm Opera pubblicata da Achille della Ragione: http://achillecontedilavian.blogspot.com/2020/04/un-capolavoro-inedito-di-francesco.html Riportiamo il testo sopraccitato: La Testa di santo racchiusa in una spettacolare cornice di cui ci occuperemo in questo nostro articolo, appartenente ad una collezione torinese, fa parte della più cospicua produzione di Francesco Fracanzano: la rappresentazione di mezze figure di santi e filosofi, investigati con crudo realismo, una moda nata nella bottega del Ribera a Napoli ed affermatasi poi anche in provincia grazie ai suoi discepoli, tra i quali, con una rilettura originale, si annovera anche il sommo Luca Giordano, che più volte ritornerà sul tema nel corso della sua lunga carriera, dilatando oltre misura la sua fase riberesca, identificata erroneamente dalla critica con un periodo unicamente giovanile. Tra i più convinti seguaci del valenzano si distingue Francesco Fracanzano, il quale nel 1622, dalla natia Monopoli, si trasferisce con la famiglia nella capitale, entrando giovanissimo nell’ambiente artistico partenopeo, grazie anche al matrimonio, celebrato nel 1632, con la sorella di Salvator Rosa. Lavorando con il Ribera ne recepì la stessa predilezione per la corposità della materia pittorica e ripropose spesso i soggetti più richiesti dalla committenza: studi di teste e mezze figure di filosofi e profeti su fondo scuro. Nel quadro trasuda una massa pittorica levigata, più morbidamente plasmata e vibrante di vita. Qualche indulgenza ad un gusto manieristico più abboccato, un certo compiacimento formalistico, un senso morale più allentato e molte concessioni di indole pietistica e devozionale che potrebbero suggerire il nome di Cesare come collaboratore, qui impressionato dalla prepotente personalità del fratello. Si tratta di poderosi personaggi vestiti di rudi panni, con attributi iconografici irrilevanti che solo con l’ausilio della fantasia ne permettono a volte l’identificazione. Il De Dominici accenna all’attività del Fracanzano nella bottega del Ribera: "il maestro molto lo adoperava nelle molte richieste di sue pitture... mezze figure di santi e di filosofi". Nessuno di questi quadri, attribuibili con un buon margine di certezza alla sua mano, è firmato o datato, probabilmente perché spesso dovevano passare per autografi del maestro e ad avvalorare questa ipotesi ci soccorrono di nuovo le parole del biografo ”il Maestro molto lo adoperava nelle molte richieste di sue pitture e massimamente per quelle che dovevano essere mandate altrove, ed in paesi stranieri... egli è così simile all’opera del Ribera che bisogna sia molto pratico di lor maniera chi vuol conoscerlo... nell’esprimere la languidezza delle membra, nella decrepità dei suo vecchi. Francesco Fracanzano (Monopoli 1612 - Naples 1656) Head of a Saint Oil on canvas Provenance: Turin private collection 64 x 50 cm Artwork published by Achille della Ragione: http://achillecontedilavian.blogspot.com/2020/04/un-capolavoro-inedito-di-francesco.html
Lucas Aste
May. 13, 2022
FRANCESCO FRACANZANO (Monopoli, 1612 - Naples, 1656), ATTRIBUTED TO
Est: €3,000 - €4,000
Bust of elderly man with beard Oil on canvas, cm. 76x63. Framed
Bertolami Fine Art s.r.l.
May. 13, 2022
FRANCESCO FRACANZANO (Monopoli, 1612 - Naples, 1656 circa)
Est: €800 - €1,000
The flaying of Marzia Ink and watercoluor on papaer, cm. 15,5x21 PROVENANCE: Private collection, Rome.
Bertolami Fine Art s.r.l.
Apr. 01, 2022
Fracanzano, Francesco (Attrib.): Pilgermönch mit Wanderstab
Est: -
Fracanzano, Francesco - attributed to — Pilgrim monk with walking stick (Monopoli 1612-1656 Naples) Oil on canvas, relined. 65,5 x 58 cm. // Fracanzano, Francesco (Attrib.) — Pilgermönch mit Wanderstab — (Monopoli 1612-1656 Neapel) Öl/Lwd., doubl. 65,5 x 58 cm.
Kunstauktionshaus Schlosser
Feb. 22, 2022
Francesco Fracanzano (Monopoli 1612 - Napoli 1656)
Est: €8,000 - €12,000
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) Santo in contemplazione Olio su tela 85,5 x 73 cm Un ottimo confronto lo troviamo con il dipinto “Sant’Andrea”, presente nel catalogo del 2013," Dipinti del Seicento, Influssi caravaggeschi tra Lombardia e Napoli",della Galleria Canesso di Lugano . Trasferitosi a Napoli con la famiglia nel 1625, Francesco Fracanzano sposa la sorella di Salvator Rosa, Giovanna. Sempre a Napoli, secondo De Dominici, si forma con il fratello Cesare nella bottega di Juseppe de Ribera. La ricchezza dei riferimenti culturali, non esclusivamente ribereschi, fa ipotizzare che le sue prime opere siano frutto dell’incontro tra il riberismo e le influenze di Antoon van Dyck. Sempre alla fase iniziale del pittore sono stati ricondotti quei dipinti in cui il Fracanzano cita brani di autentico naturalismo, sulla scia di Filippo Vitale, Giovanni Do, il Maestro degli Annunci ai pastori e Bartolomeo Bassante. In seguito, pur restando fedele al verbo del Ribera, appaiono nella sua pittura gli elementi classicistici, da Massimo Stanzione a Simon Vouet: sono elementi che nel progredire della sua attività diverranno prevalenti. Alla metà del quarto decennio l’artista sposa le proposte di matrice fiamminga, adontando una tecnica in grado di conciliare le scelte pittoriche più innovative con una cura dei dettagli di Vouet, nonché il suo perlaceo incarnato dei volti, e l'austero contenimento della forma di Francesco Guarino e Bernardo Cavallino. A una fase successiva va riferita la tela raffigurante l'Ecce Homo del 1647, oggi conservata nella collezione Morton B. Harris a New York. Essa documenta come nel quinto decennio fosse rinata in Francesco la sensibilità naturalistica, in questa fase marcatamente caratterizzata da asprezza compositiva. All'ultima fase della sua attività appartiene la Morte di S. Giuseppe per l'Arciconfraternita dei Pellegrini del 1652. L’opera testimonia la ritrovata ieraticità guariniana, accumunata dalla ripresa della sua vena classicistica come nel resto della sua tarda produzione. Oltre alla convergenza stilistica e compositiva tra la nostra opera e le opere certe di Francesco, anche l’analisi sulla tecnica esecutiva ci conforta nell’attribuzione. Lo strato pittorico è grumoso e denso, e oltre questa corposità materica riscontriamo il suo vigoroso effetto luministico e di vibrato cromatismo, sostenuto dal caratteristico arrossamento dei volti. Per la qualità che l’opera evidenzia, il tema impostato con equilibrio scenico e il vibrato naturalismo, posizioniamo la tela nell’ultimo decennio di vita dell’autore. Francesco Fracanzano (Monopoli 1612 - Naples 1656) Saint in contemplation Oil on canvas 85,5 x 73 cm We offer an excellent comparison with the painting "Sant’Andrea", present at the Canesso Gallery in Lugano.
Lucas Aste
Dec. 11, 2021
Francesco Fracanzano (attribuito a) (Monopoli 1612-Napoli 1656) - Saint Francis of Paola in prayer
Est: €8,500 - €9,999,999
Oil painting on canvas Oil painting on canvas depicting St. Francis of Paola in prayer. Work without frame. "The canvas is attributable to the painter who worked in Naples in the seventeenth century, Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656) and represents San Francesco di Paola in prayer , with the typical iconographic attributes of the Saint consisting of the habit, the book (in which we read in part "Charitas") with a skull on top, placed at the bottom and side of the figure. The painting has the typical characters ascribable to Fracanzano such as the full and lumpy material density, the color of the skin and of the hands that turns towards a reddish, which highlights a naturalism of Caravaggesque matrix that partly belongs to the teachings of the Ribera school but to which it adds the tonal values and the design of Guercino, of the Carraccis as well as by Reni himself. The work is attributable to the period of Fracanzano's pictorial experience more contiguous to the example of Ribera. A very similar work is exhibited at the Dubrovinik Museum (Croatia), with some differences z and (reported in parallel in this sheet with the use of the image for comparison) concerning the position of the book, placed vertically and with the pages squared, the skull in the background, the composition that seems to have become more lumpy, accentuating the ribesque structure, the kneeling figure of the saint is seen in full. For the work taken in comparison, entirely referable to the same author, for a purely philological need, we point out a detailed study that highlighted that "the second half of the seventeenth century, St. Francis of Paola of Dubrovnik, where the revival of the ribesque characters in the face subsides in the drafting of the soft and wide folds of the habit, which cover the entire composition and allow for this combination a valid comparison both with works by Francesco Fracanzano, such as with the San Benedetto di San Gregorio Armeno and the San Paolo eremita of the church of Sant'Onofrio dei Vecchi in Naples, both with the mature production of Angelo Solimena and with the youthful production of his son Francesco, especially regarding the revival of Lanfranco's ways "(On the traces of Neapolitan painting in Croatia between six and eighteenth centuries by Mario Alberto Pavone - University of Palermo). But it should be emphasized that many works referring to figures of Saints, passed from the antiques market and contained in private and museum collections, created by Francesco Fracanzano, present the same expressive setting and similar pictorial and compositional qualities, confirming the validity of the attribution to the same. painter. The painting retains the original frame of the seventeenth century; A very old relining from the mid-nineteenth century has been maintained which, being in good condition, has not been replaced (nor raised for other purposes). " Thanks to Dr. Avv. Francesco Amato for his authoritative opinion.
ArtLaRosa
Nov. 26, 2021
FRANCESCO FRACANZANO (MONOPOLI, 1612 - NAPLES, 1656), ATTRIBUTED TO: STANDING CHRIST
Est: €300 - €400
Chalk and watercolour on paper, cm. 18,3x11
Bertolami Fine Art s.r.l.
Nov. 26, 2021
FRANCESCO FRACANZANO (attr. a)
Est: €500 - €800
(Monopoli, 1612 - Napoli, 1656) Sant'Antonio Abate Olio su tela, cm 63X49,5 Nonostante la fortuna critica sorprende quanto siano scarne le notizie biografiche su Francesco Fracanzano. Nacque a Monopoli e si formò nella bottega paterna e nel 1622 insieme al fratello Cesare si trasferì a Napoli per frequentare secondo il biografo Bernardo de Dominici la bottega di Giuseppe Ribera. Nel 1632 Francesco sposò la sorella di Salvator Rosa e morì verosimilmente durante la terribile pestilenza del 1656. Lo stile giovanile dell'artista è quindi di stretta osservanza riberesca, per poi modulare la sua arte in modo pittoricistico, evidenziando l'influenza di Van Dyck e degli artisti bolognesi, senza dimenticare quel gusto classicista di ascendenza romana, che verso la metà del secolo diviene preponderante. Ciò comportò uno schiarimento della tavolozza e un conseguente ammorbidirsi dei vigorosi impulsi caravaggeschi, pur non distanziandosi da un sincero naturalismo che in alcuni passaggi evoca similitudini con Bernardo Strozzi. Tali considerazioni suggeriscono una datazione alla maturità, in un momento in cui le declinazioni cromatiche d'influenza vandichiana diventano preponderanti. Bibliografia di riferimento: De Vito, Perifrasi fracanziane, in Ricerche sul '600 napoletano, 2003/04 (Milano 2004), pp. 93-122 G. Porzio, Cesare Fracanzano, un Compianto sul corpo di Abele e altre restituzioni al suo catalogo, in Ricerche sull'arte a Napoli in età moderna. Scritti in onore di Giuseppe De Vito, Napoli, 2014, pp. 80-87
Wannenes Art Auctions
Nov. 26, 2021
FRANCESCO FRACANZANO (attr. a)
Est: €3,000 - €5,000
(Monopoli, 1612 - Napoli, 1656) San Francesco da Paola Olio su tela, cm 119X96 Nonostante la fortuna critica, sorprende quanto siano scarne le notizie biografiche su Francesco Fracanzano. Nacque a Monopoli e si formò nella bottega paterna e nel 1622 insieme al fratello Cesare si trasferì a Napoli per frequentare secondo il biografo Bernardo de Dominici la bottega di Giuseppe Ribera. Nel 1632 Francesco sposò la sorella di Salvator Rosa e morì verosimilmente durante la terribile pestilenza del 1656. Lo stile giovanile dell'artista è quindi di stretta osservanza riberesca, per poi modulare la sua arte in modo pittoricistico, evidenziando l'influenza di Van Dyck e degli artisti bolognesi senza dimenticare quel gusto classicista di ascendenza romana, che verso la metà del secolo diviene preponderante. Ciò comportò uno schiarimento della tavolozza e un conseguente ammorbidirsi dei vigorosi impulsi caravaggeschi, pur non distanziandosi da un sincero naturalismo. Tali considerazioni suggeriscono una datazione alla prima maturità, in un momento in cui si sviluppano le declinazioni cromatiche d'influenza vandichiana. Bibliografia di riferimento: De Vito, Perifrasi fracanziane, in Ricerche sul '600 napoletano, 2003/04 (Milano, 2004), pp. 93-122 P. Piscitello, in Ritorno al barocco. Da Caravaggio a Vanvitelli, catalogo della mostra a cura di N. Spinosa, Napoli, 2009, pp. 127-128, n. 1.48 G. Porzio, Cesare Fracanzano, un Compianto sul corpo di Abele e altre restituzioni al suo catalogo, in Ricerche sull'arte a Napoli in età moderna. Scritti in onore di Giuseppe De Vito, Napoli, 2014, pp. 80-87
Wannenes Art Auctions
Sep. 29, 2021
Memento Mori
Est: €4,500 - €6,500
Francesco Fracanzano moved to Naples at a very early age to join the workshop of one of the most renowned painters of the time: Jusepe de Ribera. Initially, the painter adhered to the mellow, chromatically violent style of his master, but in his more mature phase, he gradually moved away from it to embrace a more classicist interpretation of the compositional elements and an increasingly determined adherence to Flemish proposals. This workshop painting shows a wise old man who seems to be talking to someone outside the scene about the ephemerality of existence: he seems to be reminding his interlocutor of the inevitability of death, the possibility that it was once part of a pendant cannot be excluded.
Telearte
Sep. 14, 2021
Francesco Fracanzano (Monopoli 1612 - Napoli 1656)
Est: €4,000 - €6,000
Francesco Fracanzano (Monopoli 1612 - Napoli 1656) Sant’Andrea Olio su tela St. Andrew Oil on canvas 105 x 85 cm Trasferitosi a Napoli con la famiglia nel 1625, Francesco Fracanzano sposa, ventenne, la sorella di Salvator Rosa, Giovanna. Sempre a Napoli, secondo De Dominici, si forma con il fratello Cesare, nella bottega di Juseppe de Ribera. La ricchezza dei riferimenti culturali, non esclusivamente ribeschi, fa ipotizzare che le sue prime opere siano frutto dell’incontro del riberismo con le influenze di Antoon van Dyck. Sempre alla fase iniziale del pittore sono stati ricondotti quei dipinti in cui il Fracanzano cita brani di autentico naturalismo, sulla scia di Filippo Vitale, Giovanni Do, il Maestro degli Annunci ai pastori e Bartolomeo Bassante. In seguito, pur restando fedele al verbo del Ribera, appaiono nella sua pittura gli elementi classicistici, da Massimo Stanzione a Simon Vouet, elementi che nel progredire della sua attività diverranno prevalenti. Alla metà del quarto decennio l’artista sposa le proposte di matrice fiamminga, adontando una tecnica in grado di conciliare le scelte pittoriche più innovative con una cura dei dettagli di Vouet, nonché il suo perlaceo incarnato dei volti, e l'austero contenimento della forma di Francesco Guarino e Bernardo Cavallino. A una fase successiva va riferita la tela raffigurante l'Ecce Homo, del 1647 e oggi conservata nella collezione Morton B. Harris a New York. Essa documenta come nel quinto decennio fosse rinata in Francesco la sensibilità naturalistica, in questa fase marcatamente caratterizzata da asprezza compositiva. All'ultima fase dell'attività del F. appartiene la Morte di s. Giuseppe per l'Arciconfraternita dei Pellegrini, del1652. L’opera testimonia la ritrovata ieraticità guariniana, accumunata dalla ripresa della sua vena classicistica come nel resto della sua tarda produzione. Oltre alla convergenza stilistica e compositiva tra la nostra opera e le opere certe di Francesco, anche l’analisi sulla tecnica esecutiva ci conforta nell’attribuzione. Lo strato pittorico è grumoso e denso, e oltre questa corposità materica riscontriamo il suo vigoroso effetto luministico e vibrato cromatismo, sostenuto dal caratteristico arrossamento dei volti. Per la qualità che l’opera evidenzia, il tema impostato con equilibrio scenico e il vibrato naturalismo, a nostro giudizio, posizionano la tela nell’ultimo decennio di vita dell’autore
Lucas Aste
Mar. 29, 2021
Francesco Fracanzano, Monopoli 1612 - 1656 Naples (attributed), St. Peter studying the scriptures
Est: €6,000 - €8,000
FRANCESCO FRACANZANO (Monopoli 1612-1656 Naples) attributed St. Peter studying the scriptures Oil on canvas, 81 x 65 cm Provenance: European private collection Literature: vgl.: N. Spinosa, Seventeenth-Century Painting in Naples from Caravaggio to Massimo Stanzione Francesco Fracanzano Monopoli 1612—1656 Neapel, zugeschrieben Der heilige Petrus beim Studium der Schriften Öl auf Leinwand, 81 x 65 cm Die Thematik des Hl. Petrus ist ein immer wieder kehrendes Sujet im Werk von Francesco Fracanzano. Das vorliegende Gemälde besticht durch die seitlich dargestellte Figur des lesenden Heiligen. Der helle Schein welcher aus einem imaginären Hintergrund leuchtet verstärkt diese gelungene, dem Licht-Schatten verbundene Komposition. Der Maler wollte hier bewusst diese Perspektive verwenden. Damit verstärkt er die Wirkung auf den Betrachter. Die innige, in Gedanken versunkene Person des Studierenden zeigt sich so auf großartige Weise. Das Attribut des Schlüssel, den Petrus um das rechte Handgelenk geschnürt hat ist der dezente Verweis des Malers auf die Person des Heiligen als Träger des himmlischen Schlüssels. Die Zuschreibung des Gemäldes an den Künstler beruht auf dem Wissen und der langjährigen Erfahrung unserer Experten. Stilistisch, vor allem aber qualitativ ist dieses Werk einem Meister der neapolitanischen Malerei des 17. Jahrhunderts zuzuordnen. Der Einfluss von Giuseppe Ribera ist spürbar. Literatur: vgl.: N. Spinosa, Pittura del Seicento a Napoli da Caravaggio a Massimo Stanzione
Tiberius Auctions
Mar. 25, 2021
Francesco Fracanzano, auch genannt „Ciccio Fracanzano“, 1612 Monopoli - um 1656 Neapel, zug.
Est: €8,000 - €10,000
DER HEILIGE BRUNO Öl auf Leinwand. Doubliert. 125 x 98 cm. In dekorativem Rahmen. Der Heilige vor dunklem Hintergrund in weißer Ordenstracht mit Kapuze der Kartäuser und Tonsur. Er hat die Hände andächtig vor der Brust überkreuzt und blickt leicht in Richtung des Himmels, der an der oberen linken Bildecke durch einen gelben Schein aufreißt. Vor ihm auf einem Holzpult liegend ein dickes Buch. Malerei in reduzierter Farbigkeit. Retuschen. Der Künstler ist bekannt für seine Darstellungen in Nahsicht vor dunklem Hintergrund von einzelnen Aposteln, Philosophen und Heiligen, wie hier der Heilige Bruno. Anmerkung: Bruno von Köln (um 1027/1030 bis 1101) war Begründer des Kartäuserordens und wird als Heiliger verehrt. 1056 wurde er Leiter der Domschule von Reims. 1084 errichtete er eine Einsiedelei. 1091 gründete er eine weitere Kartause in La Torre in Kalabrien, wo er bis zu seinem Tod blieb. Biografie: Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen, als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (1240922) (2) (18) Francesco Fracanzano, also known as “Ciccio Fracanzano”, 1612 Monopoli - ca. 1656 Naples, attributed SAINT BRUNO Oil on canvas. Relined. 125 x 98 cm. In decorative frame.
Hampel Fine Art Auctions
Dec. 21, 2020
FRANCESCO FRACANZANO (attr. a)
Est: €1,500 - €2,500
(Monopoli, 1612 - Napoli, 1656)Â Ultima cena Olio su tela, cm 116X87 Il carattere non finito e la veloce stesura, inducono a pensare che l'opera sia uno studio destinato alla creazione di un'ampia Ultima Cena. La tradizionale attribuzione collezionistica viene in questa sede accolta per i caratteri di stile, che trovano diversi spunti di confronto con le opere di Francesco Fracanzano, autore del quale, nonostante la fortuna critica, si possiedono scarne notizie biografiche.Â Sappiamo per certo che nacque a Monopoli e si formì nella bottega paterna, nel 1622 insieme al fratello Cesare si trasferì a Napoli per frequentare, secondo il biografo Bernardo de Dominici, la bottega di Giuseppe Ribera. Nel 1632 Francesco sposì la sorella di Salvator Rosa e morì verosimilmente durante la terribile pestilenza del 1656. Lo stile giovanile dell'artista è quindi di stretta osservanza riberesca per poi modulare la sua arte in modo pittoricistico, senza dimenticare quel gusto classicista di ascendenza romana che verso la metà del secolo divenne preponderante.Â Ciì comportì uno schiarimento della tavolozza e un conseguente ammorbidirsi dei vigorosi impulsi caravaggeschi, pur non distanziandosi da un sincero naturalismo con tratti a volte grotteschi ed espressionistici. Tali considerazioni suggeriscono una datazione alla maturità e in analogia con il foglio raffigurante l'Ultima Cena custodito all'Albertina di Vienna. Bibliografia di riferimento: De Vito, Perifrasi fracanziane, in Ricerche sul '600 napoletano, 2003/04 (Milano 2004), pp. 93-122Â P. Piscitello, in Ritorno al barocco. Da Caravaggio a Vanvitelli, catalogo della mostra a cura di N. Spinosa, Napoli 2009, pp. 127 128, n. 1.48 G. Porzio, Cesare Fracanzano, un Compianto sul corpo di Abele e altre restituzioni al suo catalogo, in Ricerche sull'arte a Napoli in età moderna. Scritti in onore di Giuseppe De Vito, Napoli 2014, pp. 80-87
Wannenes Art Auctions
Dec. 19, 2020
Oil paint on canvas depicting St. Francis of Paola in prayer, Francesco Fracanzano (Monopoli, July
Est: -
Oil paint on canvas depicting St. Francis of Paola in prayer, Francesco Fracanzano (Monopoli, July 9, 1612 - Naples, 1656). 99X76 Cm. Opera-free frame. "The painting is Allegedly by the painter who worked in Naples in the seventeenth century, Francis Fracanzano (Monopoli, July 9, 1612 - Naples, 1656) and represents San Francesco di Paola in prayer, with the typical iconographic attributes of the saint made by habit, by the book (in which reads in part "Charitas") with above a skull, located at the bottom and laterally with respect to the figure. the painting has the typical characteristics attributable to Fracanzano such as material density full and lumpy, the color of the skin and hands that turns into a reddish, which shows a matrix of Caravaggesque naturalism which partly makes its own the teachings of the Ribera school but to which he adds the tonal values and the design of Guercino, the Carracci as well as the same Kidneys. the work is attributable to the period the experience of pictorial Fracanzano more contiguous example of Ribera. very similar work is exhibited at the Museum Dubrovinik (Croatia), with some differences (shown in parallel in the pr free card with the use of the image for comparison) regarding the position of the book, placed vertically and with squadernate pages, the skull in the background, the composition which seems to have now become more lumpy, accentuating the structure riberesca, the kneeling figure of the saint is seen in its entirety. For the work taken in comparison, all referring to the same author, a need for purely philological, we report a detailed study has shown that "the second mid seventeenth century, it should be reported on San Francesco di Paola of Dubrovnik, where the resumption of ribereschi characters in the face subsides in the drafting of the soft and ample folds of his habit, covering the entire composition and allow for just such a combination is valid comparison with works by Francesco Fracanzano, such as the San Benedetto di San Gregorio Armeno and St. Paul the hermit church of St. Onofrio of Old Naples, with both the mature production of Angelo Solimena and the young son Francis, particularly with regard to the resumption of the ways of Lanfranco "(in the Footsteps of Neapolitan painting in Croatia seventeenth and eighteenth centuries Mario Alberto Pavone - University of Palermo). But it should be emphasized that many of the works refer to figures of saints, past the antiques market and contained in private and museum collections, made by Francesco Fracanzano, have identical expressive setting and similar pictorial and compositional quality, thus confirming the validity of the allocation to the same painter. The framework preserves the original frame of the seventeenth century; It is a very old reintelatura the mid-nineteenth century was maintained that being in good condition was not replaced (neither raised for other purposes). "We thank the Dott.Avv. Francesco Amato for the authoritative opinion.
ArtLaRosa
Dec. 03, 2020
Francesco Fracanzano, auch genannt „Ciccio Fracanzano“, 1612 Monopoli - um 1656 Neapel, zugeschrieben
Est: €15,000 - €25,000
BILDNIS EINES HEILIGEN IN MÖNCHSKUTTE Öl auf Leinwand. Doubliert. 108 x 86 cm. In vergoldetem Rahmen. Dreiviertelbildnis des durch einen Nimbus gekennzeichneten Heiligen in brauner Mönchskutte mit Kapuze. Mit seiner linken Hand hat er einen Holzstab umgriffen, während seine rechte ein Stück Papier mit der Aufschrift „CHARITAS“ vor seiner Brust festhält. Er steht vor dunklem Hintergrund, der lediglich um sein Haupt aufgehellt ist. Er hat ein faltiges Gesicht, einen langen grau-weißen Bart und mit seinen leuchtenden Augen schaut er ehrfurchtsvoll zum Himmel. Malerei bei besonders feiner Herausstellung des Inkarnats von Gesicht und Händen, mit gekonnter Hell-Dunkel-Führung. Rest., mittig links Kratzer, vereinzelt Farbabrieb, Retuschen. Fracanzano wirkte zunächst in der Werkstatt des Giuseppe José de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. (1250947) (18) Francesco Fracanzano, also known as „Ciccio Fracanzano“, 1612 Monopoli - ca. 1656 Naples, attributed PORTRAIT OF A SAINT IN MONK‘S HABIT Oil on canvas. Relined. 108 x 86 cm. In gilt frame. Three-quarter length portrait of a saint in brown hooded monk‘s habit with halo. He is holding a wooden staff in his left hand, while his right holds a piece of paper inscribed with „CHARITAS“. Finely executed painting especially in the emphasis of the flesh tones of the saint‘s face and hands with masterfully applied chiaroscuro technique. Restored, scratches at centre left, paint abrasion in places, with retouching.
Hampel Fine Art Auctions
Dec. 03, 2020
Francesco Fracanzano, auch genannt „Ciccio Fracanzano“, 1612 Monopoli – um 1656 Neapel, zugeschrieben
Est: €30,000 - €50,000
BILDNIS DES HEILIGEN ANTONIUS Öl auf Leinwand. Doubliert. 118 x 92 cm. In dekorativem Rahmen. Vor braunem Hintergrund der Heilige nach links, in weißem Gewand und darüber einem kurzen schwarzen schulterbedeckenden Umhang. Seine linke Hand hält vor seiner Brust ein kleines Holzkreuz, während seine rechte kräftige Hand einen langen Holzstab umfasst hat. Er hat lichtes Haar, buschige Augenbrauen und einen langen weißen Vollbart. Er hat leichte Stirnfalten und mit seinen dunklen Augen schaut er andächtig und gottergeben auf das Kreuz hinab. Das Licht fällt aus unbekannter Quelle von links auf Kopf und Gesicht, sowie auf die Hände und das weiße Untergewand des Heiligen. Qualitätvolle Malerei mit starken Hell-Dunkel-Kontrasten, dabei die Physiognomie des faltenreichen Gesichtes des Heiligen besonders gut herausgearbeitet. Wenige Retuschen. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. Zu seinen, als Meisterwerke geltenden Bildern gehören diese in den Kirchen San Gregorio Armeno und Trinità dei Pellegrini in Neapel. (1240255) (18) Francesco Fracanzano, also known as “Ciccio Fracanzano”, 1612 Monopoli – ca. 1656 Naples, attributed PORTRAIT OF SAINT ANTHONY Oil on canvas. Relined. 118 x 92 cm. In decorative frame.
Hampel Fine Art Auctions
Nov. 28, 2020
Francesco Fracanzano (Monopoli 1612 - Neapel 1656). Paul the Hermit.
Est: -
Ca. 1635, oil/canvas, 129 x 102,5 cm, min. rest., relined. - Expertise: Viviana Farina, Napels. Also Nicola Spinosa confirms the authenticity. - Provenance: Joos Heinz, Zurich 1955; private collection Switzerland; private collection South Germany. - Italian history and figure painter. Together with his brother F. was taught painting in the studio of J. Ribera, whose style he initially adopted. Although working in Naples F. took up influences of contemporary Roman and Venetian art. Mus.: Madrid (Prado), Vienna (Kunsthist. Mus.), Neapel (Capodimonte) a. others. Lit.: AKL, Thieme-Becker, Bénézit.
Auktionshaus Stahl
Oct. 10, 2020
Oil paint on canvas depicting St. Francis of Paola in prayer, Francesco Fracanzano (Monopoli, July 9, 1612 - Naples, 16
Est: €15,000 - €9,999,999
Oil paint on canvas depicting St. Francis of Paola in prayer, Francesco Fracanzano (Monopoli, July 9, 1612 - Naples, 1656). 99X76 Cm. Opera-free frame. "The painting is attributed to the painter who worked in Naples in the seventeenth century, Francis Fracanzano (Monopoli, July 9, 1612 - Naples, 1656) and represents San Francesco di Paola in prayer, with the typical iconographic attributes of the saint made by habit, by the book (in which reads in part "Charitas") with above a skull, located at the bottom and laterally with respect to the figure. the painting has the typical characteristics attributable to Fracanzano such as material density full and lumpy, the color of the skin and hands that turns into a reddish, which shows a matrix of Caravaggesque naturalism which partly makes its own the teachings of the Ribera school but to which he adds the tonal values and the design of Guercino, the Carracci as well as the same Kidneys. the work is attributable to the period the experience of pictorial Fracanzano more contiguous example of Ribera. very similar work is exhibited at the Museum Dubrovinik (Croatia), with some differences (shown in parallel in the pr free card with the use of the image for comparison) regarding the position of the book, placed vertically and with squadernate pages, the skull in the background, the composition which seems to have now become more lumpy, accentuating the structure riberesca, the kneeling figure of the saint is seen in its entirety. For the work taken in comparison, all referring to the same author, a need for purely philological, we report a detailed study has shown that "the second half of the seventeenth century, it should be reported on San Francesco di Paola of Dubrovnik, where the resumption of ribereschi characters in the face subsides in the drafting of the soft and ample folds of his habit, covering the entire composition and allow for just such a combination is valid comparison with works by Francesco Fracanzano, such as the San Benedetto di San Gregorio Armeno and St. Paul the hermit church of St. Onofrio of Old Naples, with both the mature production of Angelo Solimena and the young son Francis, particularly with regard to the resumption of the ways of Lanfranco "(in the Footsteps of Neapolitan painting in Croatia seventeenth and eighteenth centuries Mario Alberto Pavone - University of Palermo). But it should be emphasized that many of the works refer to figures of saints, past the antiques market and contained in private and museum collections, made by Francesco Fracanzano, have identical expressive setting and similar pictorial and compositional quality, thus confirming the validity of the allocation to the same painter. The framework preserves the original frame of the seventeenth century; It is a very old reintelatura the mid-nineteenth century was maintained that being in good condition was not replaced (neither raised for other purposes). "We thank the Dott.Avv. Francesco Amato for the authoritative opinion.
ArtLaRosa
Jul. 02, 2020
Francesco Fracanzano, auch genannt „Ciccio Fracanzano“, 1612 Monopoli – um 1656 Neapel, zug.
Est: €20,000 - €25,000
DER HEILIGE ANTONIUS ALS EINSIEDLER Öl auf Leinwand. Doubliert. 124 x 114 cm. In dekorativem Prunkrahmen mit Teilvergoldung. Fracanzano wirkte zunächst in der Werkstatt des Jusepe de Ribera (1588/91-1652), was seinen Malstil nachhaltig beeinflusste. Er gilt als wichtiger Vertreter einer naturalistischen Barock-Stilistik der Malschule von Neapel, zu der auch sein Schwager Salvator Rosa (1615-1673) zählt. In freier Landschaft, unter hohem blauem Himmel mit großen weiß-grauen Wolkenformationen, der auf dem linken Bein kniende Heilige als Einsiedler, seine linke Hand weit nach unten ausgestreckt, während er sich mit seinem rechten Arm an einem langen Stab hält. Er trägt ein weißes, um die Hüfte gegürtetes Gewand, darüber einen dunklen Mantel. Als Einsiedler muss er zahlreichen Versuchungen wiederstehen und Peinigungen durch den Teufel und seine Dämonen ertragen. Vor ihm ragt aus dem Boden der Kopf und Arm einer teuflischen Gestalt, mit Hörnern auf dem Kopf, blutrot unterlaufenen Augen sowie Feuerzungen aus seinem leicht geöffneten Mund. Daneben der Kopf eines Tieres mit großer Schnauze und leuchtendem braunen Auge. Rechts hinter dem Heiligen scheint das rote Höllenfeuer zu lodern. Antonius hat seinen Kopf erhoben und scheint mit aufgerissenen Augen Gott anzuflehen. Malerei mit starken Hell-Dunkel-Kontrasten, dabei die Physiognomie des faltenreichen Gesichtes des Heiligen besonders gut herausgearbeitet. Retuschen. Anmerkungen: Ein Gemälde mit einer vergleichbaren Darstellung des Heiligen Antonius wurde bei Christie’s New York, in der Versteigerung am 04. Juni 2014 unter der Lotnummer 99 angeboten. (1231305) (18) Francesco Fracanzano, also known as “Ciccio Fracanzano”, 1612 Monopoli – ca. 1656 Naples, attributed SAINT ANTHONY AS HERMIT Oil on canvas. Relined. 124 x 114 cm. In magnificent decorative parcel-gilt frame. Retouching. Notes: A painting with a similar depiction of Saint Anthony was sold at auction at Christie’s, New York, on 4 June 2014 with lot 99.
Hampel Fine Art Auctions
Jun. 09, 2020
Francesco Fracanzano
Est: €15,000 - €20,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Monopoli 1612–1656 Naples) A bearded man, a Domenican friar (?), oil on canvas, 74 x 61 cm, framed We are grateful to Riccardo Lattuada for suggesting the attribution after examination of the present painting in the original.
Dorotheum
Jun. 01, 2020
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. 99X76,
Est: -
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. 99X76, oil paint on canvas. Piece without frame. "The canvas is allegedly by the painter who worked in Naples in the seventeenth century, Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656) and represents St. Francis of Paola in prayer, with the iconographic attributes typical of the Saint constituted by the habit, the book (in which we read in part ""Charitas"" with a skull on top, placed at the bottom and laterally with respect to the figure. The painting has the typical characteristics ascribable to Fracanzano such as the full and lumpy material density, the color of the skin and hands that turns towards a reddish, which highlights a Caravaggio-style naturalism that partly takes on the teachings of the Ribera school but to which adds the tonal and drawing values of Guercino, Carracci and Reni himself. The work is attributable to the period of the pictorial experience of Fracanzano more contiguous to the example of Ribera. Very similar work is exhibited at the Museum of Dubrovinik (Croatia), with some differences (shown in parallel in this sheet with the use of the image for comparison) concerning the position of the book, placed vertically and with the pages spread out, the skull in the background, the composition that seems to have become more lumpy, accentuating the riberesque structure, the kneeling figure of the saint is seen in its entirety. For the work compared, in reference to the same author, due to a purely philological need, we note a detailed study that highlighted that ""in the second half of the seventeenth century, the Saint Francis of Paola of Dubrovnik, where the resumption of the charismatic characters in the face is calmed in the drafting of the soft and ample folds of the habit, which cover the entire composition and allow for such a combination a valid comparison both with works by Francesco Fracanzano, such as with San Benedetto di San Gregorio Armeno and the Saint Paul hermit of the church of Sant'Onofrio dei Vecchi in Naples, both with the mature production of Angelo Solimena and with the youthful production of his son Francesco, especially with regard to the resumption of the Lanfranco ways ""(On the trail of Neapolitan painting in Croatia between the seventeenth and eighteenth centuries by Mario Alberto Pavone - University of Palermo). But it should be emphasized that many works referring to figures of saints, passed from the antique market and contained in private and museum collections, made by Francesco Fracanzano, have the same expressive formulation and analogous pictorial and compositional qualities, confirming the validity of the attribution to the same painter. The picture preserves the original frame of the seventeenth century; a very old re-tiling of the mid-nineteenth century has been maintained which, being in good condition, has not been replaced (nor raised for other purposes)." Dott. Francesco Amato
ArtLaRosa
May. 16, 2020
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. 99X76,
Est: -
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. 99X76, oil paint on canvas. Piece without frame. "The canvas is allegedly by the painter who worked in Naples in the seventeenth century, Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656) and represents St. Francis of Paola in prayer, with the iconographic attributes typical of the Saint constituted by the habit, the book (in which we read in part ""Charitas"" with a skull on top, placed at the bottom and laterally with respect to the figure. The painting has the typical characteristics ascribable to Fracanzano such as the full and lumpy material density, the color of the skin and hands that turns towards a reddish, which highlights a Caravaggio-style naturalism that partly takes on the teachings of the Ribera school but to which adds the tonal and drawing values of Guercino, Carracci and Reni himself. The work is attributable to the period of the pictorial experience of Fracanzano more contiguous to the example of Ribera. Very similar work is exhibited at the Museum of Dubrovinik (Croatia), with some differences (shown in parallel in this sheet with the use of the image for comparison) concerning the position of the book, placed vertically and with the pages spread out, the skull in the background, the composition that seems to have become more lumpy, accentuating the riberesque structure, the kneeling figure of the saint is seen in its entirety. For the work compared, in reference to the same author, due to a purely philological need, we note a detailed study that highlighted that ""in the second half of the seventeenth century, the Saint Francis of Paola of Dubrovnik, where the resumption of the charismatic characters in the face is calmed in the drafting of the soft and ample folds of the habit, which cover the entire composition and allow for such a combination a valid comparison both with works by Francesco Fracanzano, such as with San Benedetto di San Gregorio Armeno and the Saint Paul hermit of the church of Sant'Onofrio dei Vecchi in Naples, both with the mature production of Angelo Solimena and with the youthful production of his son Francesco, especially with regard to the resumption of the Lanfranco ways ""(On the trail of Neapolitan painting in Croatia between the seventeenth and eighteenth centuries by Mario Alberto Pavone - University of Palermo). But it should be emphasized that many works referring to figures of saints, passed from the antique market and contained in private and museum collections, made by Francesco Fracanzano, have the same expressive formulation and analogous pictorial and compositional qualities, confirming the validity of the attribution to the same painter. The picture preserves the original frame of the seventeenth century; a very old re-tiling of the mid-nineteenth century has been maintained which, being in good condition, has not been replaced (nor raised for other purposes)." Dott. Francesco Amato
ArtLaRosa
Mar. 17, 2020
Fracanzano, Francesco (Attr. à) - Saint Pierre repentant
Est: $5,000 - $15,000
Fracanzano, Francesco (Attr. à) (1612-1656) Saint Pierre repentant Description (FR): Huile sur toile, non signée Provenance: Collège de l'Assomption Description (EN): Oil on canvas, unsigned Provenance: Collège de l'Assomption Dimension (PO): 43 1/2" x 33" Dimension (CM): 110.49 x 83.82 cm Rapport de condition: Marouflage ancien, nombreuses retouches anciennes, début de restauration. Condition report: Old marouflage with many touch-ups, start of a new restoration.
Champagne Auctions
Jan. 03, 2020
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. The
Est: -
Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656). St. Francis of Paola in prayer. The canvas is allegedly by the painter who worked in Naples in the seventeenth century, Francesco Fracanzano (Monopoli, 9 July 1612 - Naples, 1656) and represents St. Francis of Paola in prayer, with the iconographic attributes typical of the Saint constituted by the habit, the book ( in which we read in part ""Charitas"" with a skull on top, placed at the bottom and laterally with respect to the figure. The painting has the typical characteristics ascribable to Fracanzano such as the full and lumpy material density, the color of the skin and hands that turns towards a reddish, which highlights a Caravaggio-style naturalism that partly takes on the teachings of the Ribera school but to which adds the tonal and drawing values ??of Guercino, Carracci and Reni himself. The work is attributable to the period of the pictorial experience of Fracanzano more contiguous to the example of Ribera. Very similar work is exhibited at the Museum of Dubrovinik (Croatia), with some differences (shown in parallel in this sheet with the use of the image for comparison) concerning the position of the book, placed vertically and with the pages spread out, the skull in the background, the composition that seems to have become more lumpy, accentuating the riberesque structure, the kneeling figure of the saint is seen in its entirety. For the work compared, in reference to the same author, due to a purely philological need, we note a detailed study that highlighted that ""in the second half of the seventeenth century, the Saint Francis of Paola of Dubrovnik, where the resumption of the charismatic characters in the face is calmed in the drafting of the soft and ample folds of the habit, which cover the entire composition and allow for such a combination a valid comparison both with works by Francesco Fracanzano, such as with San Benedetto di San Gregorio Armeno and the Saint Paul hermit of the church of Sant'Onofrio dei Vecchi in Naples, both with the mature production of Angelo Solimena and with the youthful production of his son Francesco, especially with regard to the resumption of the Lanfranco ways ""(On the trail of Neapolitan painting in Croatia between the seventeenth and eighteenth centuries by Mario Alberto Pavone - University of Palermo). But it should be emphasized that many works referring to figures of saints, passed from the antique market and contained in private and museum collections, made by Francesco Fracanzano, have the same expressive formulation and analogous pictorial and compositional qualities, confirming the validity of the attribution to the same painter. The picture preserves the original frame of the seventeenth century; a very old re-tiling of the mid-nineteenth century has been maintained which, being in good condition, has not been replaced (nor raised for other purposes). 99X76, Oil on canvas. Work without frame. We thank the Dott. Francesco Amato for his skilled notation.
ArtLaRosa