Filippo Vitale Sold at Auction Prices

Attributed to FILIPPO VITALE (Naples, c. 1585-Naples, 1650). "St. John the Baptist in the Desert." Oil on canvas. It has a seventeenth-century frame from old fragments.

Attributed to FILIPPO VITALE (Naples, c. 1585-Naples, 1650). "St. John the Baptist in the Desert." Oil on canvas. It has a seventeenth-century frame from old fragments. Measurements: 100 x 127 cm; 118,5 x 144 cm (frame). This Italian painting of the XVII century represents Saint John the Baptist with a workmanship of extraordinary delicacy and a vaporous technique that wraps the figure in an atmosphere of subtle sensuality. The young saint appears reclining in a desolate landscape, his body barely covered by a camel skin and a wide red cloth that undulates elegantly over the surface. The light models his anatomy with soft transitions and an almost tactile carnality, highlighting the smoothness of his skin and the rosy hue of his face. His melancholic expression and serene gaze contribute to endow the image with a certain extenuation, distancing it from the penitent severity with which the Baptist is usually represented. The pictorial treatment is characterized by a moderate chiaroscuro, where the shadows are subtly dissolved in the general luminosity of the scene. This approach suggests a distancing from the tenebrist dramatism of the cruder Neapolitan school, approaching instead a more refined and evocative aesthetic, combining naturalism and a certain idealism. The soft and enveloping brushstroke, together with the softness of the contours, recalls the work of Francesco Guarino and Antonio de Bellis, painters active in Naples who knew how to fuse the theatricality of caravaggism with a more graceful and sophisticated sense of form. The technique and style bring it closer to the circle of the artist Filippo Vitale (Naples, 1585 - 1650), an Italian Baroque painter known for being one of the first Neapolitan painters to join the Caravaggismo movement. Vitale trained in the workshop of Carlo Sellitto, whose style greatly influenced his painting. Introduced later in the circle of Ribera, he remained faithful throughout his career to a realistic caravaggismo that, however, softened over time towards a certain classicism. In comparison with Filippo Vitale's depiction of St. Jerome in the Desert, this work departs from the Neapolitan painter's characteristic crude and ascetic accent. While Vitale emphasizes the tortured physicality and extreme asceticism of St. Jerome, with rough modeling and harsh lighting, this depiction of St. John the Baptist prefers a gentler, more seductive vision. The composition invites more to aesthetic contemplation than to devotional commotion, integrating a serene spirituality with a pictorial sense of great sensuality and refinement.

FILIPPO VITALE GIACOBBE E REBECCA INGANNANO ISACCO

In cornice coeva. Ringraziamo il Prof. Nicola Spinosa per aver confermato l'attribuzione tramite parere orale.

Caravaggista school, possibly FILIPPO VITALE (Naples, c. 1585-Naples, 1650); Italy, 17th century. "Supper at the House of Emmaus." Oil on canvas. Preserves original canvas.

Caravaggista school, possibly FILIPPO VITALE (Naples, c. 1585-Naples, 1650); Italy, 17th century. "Supper at the House of Emmaus." Oil on canvas. Preserves original canvas. Presents restorations on the pictorial surface and patches on the back. It has adapted frame of the XVII century. Provenance: Private collection Naples, Private collection Rome and Granados Collection. Measurements: 99,5 x 125 cm; 112,5 x 136,5 cm (frame). Formerly this work had been attributed to the Maestro dell'Emmaus di Pau, although the technique and style bring it closer to the circle of the artist Filippo Vitale (Naples, 1585 - 1650), Italian Baroque painter known for being one of the first Neapolitan painters to join the current of caravaggismo. Vitale trained in the workshop of Carlo Sellitto, whose style greatly influenced his painting. Later introduced into the circle of Ribera, he remained faithful throughout his career to a realistic caravaggismo that, however, softened over time towards a certain classicism. Since 2008, critics have opened a debate on the identification of Filippo Vitale with the anonymous artist identified as the Master of the Supper at Emmaus due to the stylistic similarities found between the subject that gives the painter his name and Vitale's Departure from Jacob. This painting depicts a scene narrated in the Gospel of Luke (24:13-35), in which the risen Christ appears to two of his disciples on the road to the village of Emmaus. They do not recognize him until, during supper, Christ breaks the bread, in a direct reference to the Eucharist. Both the meeting on the road and the supper episode have been widely represented in painting, although the second scene, depicted here, is more frequent. Since the Renaissance, it is preferred to represent Jesus eating with the disciples, and often the moment of recognition will be shown. In the 16th century we find important examples of the representation of this theme, such as Titian's painting of 1535, now in the Louvre. Here, however, the formal and compositional inspiration does not come from Italy but from the Flemish Renaissance. Thus, the scene is clearly delimited to the foreground, with the table worked in foreshortened position and occupied by various objects and food, worked with meticulousness and attention to detail. The background is closed by a dense darkness that helps to focus the view on the monumental protagonists among which the representation of Christ stands out, not only for its centrality in the composition but also for being the only character that has been portrayed facing the viewer. Preserves original canvas. It presents restorations on the pictorial surface and patches on the back. It has an adapted 17th century frame.

FILIPPO VITALE (bottega di)

(Napoli, 1585 - 1650) Cena in Emmaus Olio su tela, cm 104,5X123 Provenienza: Napoli, Finarte, 9 novembre 1999, lotto 590 (come Maestro dell'Emmaus di Pau) Roma, collezione privata Il dipinto entra a buon titolo nell'intricato panorama del caravaggismo partenopeo, facendo riferimento a diverse personalità anonime di cultura riberesca, someriana come il Maestro del Gesù fra i dottori (attivo a Napoli nel terzo decennio del XVII secolo), il cui appellativo si deve a Ferdinando Bologna (Cfr. F. Bologna, Battistello e gli altri, in Battistello Caracciolo e il primo naturalismo a Napoli, catalogo della mostra a cura di F. Bologna, Napoli, 1991) e in particolare il Maestro dell'Emmaus di Pau, oramai riconosciuto nella personalità di Filippo Vitale (cfr. G. Papi, Il Genio degli anonimi. Maestri caravaggeschi a Roma e a Napoli, Milano 2005; G. Papi, Il Maestro dell'Emmaus di Pau e Filippo Vitale. Tracce dell'influenza di Cecco del Caravaggio a Napoli in Filippo Vitale. Novità ed ipotesi per un protagonista della pittura del '600 a Napoli a cura di G. Porzio, Milano 2008, pp. 43-55; G. Papi, Il Maestro dell'Emmaus di Pau e Filippo Vitale. Tracce dell'influenza di Cecco del Caravaggio a Napoli in Senza più attendere a studio e insegnamenti, Scritti su Caravaggio e l'ambiente caravaggesco, Napoli 2018, pp. 61-83).

FILIPPO VITALE (NAPLES C.1585-1650) - The Entombment

FILIPPO VITALE (NAPLES C.1585-1650) The Entombment oil on canvas 59 ¼ x 78 ¾ in. (151 x 200 cm.)

Filippo Vitale, um 1585 – 1650

DER UNGLÄUBIGE THOMAS Öl auf Leinwand. Doubliert. 101 x 127 cm. In mit Blüten verziertem Rahmen. Gemälde entsprechend dem Bibeltext des Neuen Testaments, wonach der Apostel Thomas Jesus nach der Auferstehung begegnet und ungläubig seine Seitenwunde betastet. Der Heilige Thomas links im Bild, auch farblich durch seinen roten Umhang hervorgehoben, rechts heller beleuchtet die Halbfigur Jesu, an dessen Wunde Thomas seinen Zeigefinger legt. Seitlich weitere Apostel, die Szene verfolgend. Der figürliche Aufbau und die Hell-Dunkel-Wiedergabe des Sujets, aber auch die Figurationen der Personen sind stark unter dem Einfluss von Caravaggio zu sehen. Werke seiner Hand, zu finden als Flippo oder Filippo Vitale, finden sich vorwiegend entsprechend seiner Wirkungsstätte in den Kirchen und Museen in Neapel. (1351971) (13) Filippo Vitale, ca..1585 – 1650 DOUBTING THOMAS Oil on canvas. Relined. 101 x 127 cm.

Vitale Filippo attribuito a, San Pietro

olio su tela, W. 60 - H. 80 Cm, Si ringrazia il Prof. Nicola Spinosa per aver fornito l'attribuzione del dipinto all'artista

FILIPPO VITALE (Naples, 1589 or 1590 - 1650) - Holy Family with the prophetess Anne

FILIPPO VITALE (Naples, 1589 or 1590 - 1650) Holy Family with the prophetess Anne Oil on canvas, cm. 76,5x101,5. Framed LITERATURE: Filippo Vitale. Novità ed ipotesi per un protagonista della pittura del '600 a Napoli, cat. della mostra, a cura di G. Porzio, Milano, 4 aprile - 14 maggio 2008, Milano 2008, n. 15, pp. 86-87 e tav. 60, p. 121. PROVENANCE: From the beginning of the 20th century, France, private collection; Italy, private collection.

FILIPPO VITALE ATTRIBUTED FILIPPO VITALE ATTRIBUITO Napoli 1585-Napoli 1650 S.GIUSEPPE COL BAMBINO | ST JOSEPH

S.Giuseppe col bambino. Olio su tela, cm 97x72. Entro cornice coeva. Il dipinto si pone come una testimonianza del naturalismo dimpronta caravaggesca in territorio napoletano, fenomeno capeggiato da Battistello Caracciolo che di certo ebbe un ruolo fondamentale insieme al Ribera, a Napoli dal 1616, per la formazione dello stile del Vitale, al cui pennello si propone di restituire lopera presentata. La difficolta maggiore nel delineare il suo percorso artistico, ricostruito dalla critica solamente di recente, e dovuta allesistenza di pochissime sue opere firmate e alla sua virata stilistica dopo il 1630 verso una matrice accademica di stampo classicista sotto linflusso del Domenichino con esiti prossimi al figliastro Pacecco de Rosa, rendendo a volte difficile distinguere la corretta paternita delle loro opere. Il presente dipinto mostra tangenze con sue numerose opere; si menzionano a scopo esemplificativo il S.Biagio benedicente (Ubicazione Ignota) e la Benedizione di Giacobbe (Roma, collezione privata). | Oil on canvas, 97x72 cm.Within coeval frame. The painting stands as a testimony of Caravaggesque naturalism in Neapolitan territory, a phenomenon led by Battistello Caracciolo that certainly played a key role together with Ribera, in Naples from 1616, for the formation of the style of Vitale, to whose brush you proposes to return the presented work. The greatest difficulty in delineating his artistic career, reconstructed only recently by critics, is due to the existence of very few of his signed works and his stylistic turn after 1630 towards an academic matrix of a classicist style under the influence of Domenichino with outcomes next to his stepson Pacecco de Rosa, making it sometimes difficult to distinguish the correct paternity of their works. The present painting shows tangencies with his numerous works; mention is made of the S. Biagio benedicente (Location Unknown) and the Benediction of Jacob (Rome, private collection).

Attributed to Filippo Vitale (Naples 1585-1650)

Attributed to Filippo Vitale (Naples 1585-1650) Saint Jerome oil on canvas 89.1 x 71.2cm (35 1/16 x 28 1/16in). Footnotes Exhibited Naples, Castel Sant'Elmo, Battistello Caracciolo e il Primo Naturalismo a Napoli, 9 November 1991 - 19 January 1992, p. 281, cat. no. 2.33

ATTRIBUTED TO FILIPPO VITALE (NAPLES 1585-1650) Saint Jerome oil on canvas

ATTRIBUTED TO FILIPPO VITALE (NAPLES 1585-1650) Saint Jerome oil on canvas 89.1 x 71.2cm (35 1/16 x 28 1/16in).

FILIPPO VITALE (1585 CA.-1650)

FILIPPO VITALE (1585 CA.-1650) Caino e Abele Olio su tela, 217x164 cm. Esposizioni: Battistello Caracciolo e il primo naturalismo a Napoli, Napoli Castel Sant'Elmo, 19911992 (etichetta al verso) Bibliografia: F. Bologna, a cura di, Battistello Caracciolo e il primo naturalismo a Napoli, Napoli, 1991, p. 278, n. 2.28 Una immagine dell'opera riprodotta qui a fianco è conservata nella fototeca della Fondazione Zeri (inv. 51256, fasc. XI Filippo Vitale) Provenienza: Semenzato, Venezia, 22.2.1998, l. 145 (€ 44.410) Stato di conservazione Segno: 75% (al centro della base, violenta aggressione di muffa tutt'ora in corso; pellicola pittorica con numerose carenze e integrazioni sull'incarnato di Abele viso e spalle comprese e sull'incarnato di Caino, per esempio la gamba sinistra, la parte alta del busto e il volto. Sul bordo destro, ampia integrazione) Supporto: 40% (Telaio sostituito e rintelo; notevoli danni conseguenti a muffa) Note: Notevoli pentimenti, per esempio al piede destro di Abele. La targa riprodotta a fianco è stata decurtata della parte superiore dopo la ripresa dello scatto fotografico

Filippo VITALE (Naples 1589/1590-1650)

Filippo VITALE (Naples 1589/1590-1650) Visage d'homme Papier marouflé sur toile 40 x 29,5 cm Au début de sa carrière Filippo Vitale est influencé par le vigoureux naturalisme caravagesque avant de s'orienter vers des œuvres plus décoratives. Nous pouvons rapprocher notre œuvre de La Cène à Emmaüs actuellement dans le commerce parisien. Giuseppe Porzio y remarque un réalisme exacerbé des épidermes caractéristiques des œuvres des premières années du XVIIe siècle de Filippo Vitale qui évolue dans le cercle de Carlo Sellito et de Battistello Caracciolo (voir G. Porzio, " Filippo Vitale ", dans Regards croisés sur quatre tableaux caravagesques, Paris, 2012, p. 14)

Filippo Vitale (Naples c. 1585-1650)

Filippo Vitale (Naples c. 1585-1650) Saint Januarius oil on canvas, octagonal 25½ x 20 5/8 in. (64.8 x 52.4 cm.)

Filippo Vitale , Napoli 1589-1650 Figura di santo olio su prima tela

olio su prima tela

Filippo Vitale Naples circa 1585 - 1650 , Lot and his daughters oil on canvas

ATTRIBUITO A FILIPPO VITALE NAPOLI 1589-1650

MATERIAL/MEDIUM olio su tela