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Lot 107: Marco Benefial (Roma 1684 - 1764) Susanna e i vecchioni

Est: €90,000 EUR - €120,000 EURSold:
Finarte RomaRoma, ItalyMay 27, 2014

Item Overview

Description

olio su tela, cm 230 x 297 reca sigla sul basamento di pietra in basso: CG MARCO BENEFIAL (ROME 1684 - 1764) SUSANNA AND THE ELDERS, OIL IN CANVAS, 230 X 297 CM

Artist or Maker

Condition Report

Il dipinto è ascrivibile al pennello di Marco Benefial, artista attivo nella Roma di primo Settecento, genialmente definito "incorrotto" da Francesco Arcangeli (Un artista incorrotto, in "Il Resto del Carlino", 4 agosto 1959). Si tratta di un pittore che, pur nell'alveo di un sostenuto idealismo monumentale, dimostra di voler indagare i reconditi aspetti della vita umana, curando la resa introspettiva più che la distaccata rappresentazione di un mondo perfetto. La strada che Benefial persegue è quella di una lucida analisi del reale, colto anche nel remoto emisfero della psiche.Alla sua altezza tuttavia non è corrisposta ugual fama, il suo atteggiamento 'pittorico' ribelle non fu gradito infatti alla critica ufficiale che lo dimenticò, tanto che le notizie della vita si ricavano sostanzialmente da una dettagliata lettera (22 aprile 1764) di un suo allievo, Giovan Battista Ponfredi, a Niccolò Soderini uno dei principali mecenati di Benefial (pubbl. in G. Bottari- S. Ticozzi, Raccolta di Lettere sulla Pittura, Scultura ed Architettura scritte da' più Celebri Personaggi dei secoli XV, XVI, e XVII, vol. V, Milano, per Giovanni Silvestri, 1822, 5-39). Tuttavia la qualità del pittore era ben nota fin dall'inizio della sua attività se Niccolò Pio negli anni 1718- 1724 non poté esimersi dall'includerlo, pur con le pochissime notizie per le altrettanto poche pitture al tempo realizzate, nelle sue Vite di Pittori et Architetti rimaste inedite fino al 1977 (Nicola Pio, Le vite di pittori scultori e architetti, Biblioteca Apostolica, Città del Vaticano, 1718-1724, ms. Capponi 257, ed. critica a cura di C. Enggass - R. Enggass, Città del Vaticano 1977, p. 188). Anche oggi, che l'importanza del pittore è stata pienamente dimostrata dalla critica, si annovera una sola monografia (Liliana Barroero, Benefial, Milano 2005). Nel quadro, sul fronte del gradino sotto il versatoio antropomorfo, si trova una sigla composta di due lettere intrecciate mal leggibili e forse ripassate, nelle quali sembra si possano leggere le iniziali "C" e "G". Queste potrebbero sciogliersi nel nome di Corrado Giaquinto, pittore attivo anche a Roma, ma lo stile nega tale possibilità. D'altra parte le dimensioni eccessive della sigla, posta troppo in evidenza, fanno ritenere che si tratti di una scritta espressamente voluta dal committente se non di un'aggiunta posteriore, inserita anche a scopo antiquariale.Il dipinto raffigura la casta Susanna sorpresa dai vecchioni mentre sta per fare il bagno nel proprio giardino (Daniele, 13, 19-21). Si tratta di una delle scene più illustrate del Vecchio Testamento, fin dai tempi della Controriforma, in quanto permetteva di rappresentare nudità femminili in perfetta aderenza al soggetto e al contenuto religioso. Nel taglio orizzontale della composizione le figure monumentali occupano quasi per intero la scena. La loro incombente presenza lascia al fondale solo un breve lembo a sinistra, mentre a destra una fitta foresta chiude completamente lo spazio. I personaggi scalano in altezza verso destra dando alla scena un andamento diagonale. Nonostante il loro sontuoso classicismo, ricercato fin nelle pose (quella di Susanna che con il braccio destro alzato a sostenere il velo è esemplata su una statua del tipo della "Venere genitrice" del Louvre), l'aspetto dell'opera non è quello di un racconto idilliaco. Vi è anzi un sapore negromantico nei vecchi dall'aspetto di circassi: quello con il turbante sembra piovuto dalla cultura neo veneta e in particolare da Pier Francesco Mola, l'altro, offerente gioielli, ha la tipologia dei personaggi di Andrea Sacchi passati nella cultura del suo allievo Maratti. Nel dinamico atteggiarsi i vecchioni imbastiscono un dialogo di gesti, che spiega eloquentemente la volontà dei due vecchi di concupire la donna. Tuttavia Susanna, avvicinabile nelle sembianze e nella posa alla Fornarina di Raffaello, non è per niente preoccupata. Nel suo aspetto di maga ammaliatrice più che di casta sposa, sembra ammiccare, piuttosto che respingere, i pedanti corteggiatori. Il senso della storia è ribaltato, la lascivia ha preso il posto della pudicizia e il racconto pittorico produce un senso di inquietudine. Una sensazione rimarcata dai panneggi dinamici, che quasi imprigionano le figure, e dagli oggetti, quali il mascherone della fontana o il manico del versatoio, antropizzato in forma di sghignazzante satiro. L'atmosfera è decadente, per l'ostentazione di opulenza provocata dalla profusione di gioielli e di oggetti preziosi. Una luce lunare crea suggestivi lucori metallici nelle candide carni di Susanna e nei panneggi venati di luminescenze in un insieme di magico colorito.Lo stile colloca perfettamente il dipinto nel corpus del Benefial, di cui arriva a costituire un importante recupero. A parte l'intonazione seducente e intricante della scena, che è quella tipica del pittore, è possibile presentare una serie di confronti con sue opere documentate o concordemente accettate dalla critica. Il panneggio del mantello di Susanna, nel suo complicarsi in pieghe dinamiche che formano volute contornate da una luce come di scariche elettriche, si lascia equiparare con quello della veste e del mantello di Giuseppe nel Riposo nella fuga in Egitto del Musée des Beaux-Arts di Carcassonne (1750), dipinto anch'esso di grandi dimensioni (cm 260 x 175) con il quale la tela in oggetto condivide anche il pittorico modo di concepire con una materia magra le vesti della Madonna, confrontabili con il manto rosso sopra il versatoio di Susanna.Il manico antropizzato del versatoio nella Susanna (fig. 1) è paragonabile all'Apollo ricurvo (fig. 2), di sostanza metallica più che lapidea, nel San Saturnino rifiuta di adorare Apollo (olio su tela, cm 325 x 195) dei Santi Giovanni e Paolo a Roma (1731). L'arcigno manigoldo che lega la salce (fig. 3) nella Flagellazione (olio su tela, cm 210 x 150) delle Stimmate di San Francesco a Roma (1716), è paragonabile al vecchio calvo che tenta di corrompere Susanna offrendole gioielli (fig. 4). Il vecchione col turbante dalla testa realisticamente indagata, con la iugulare gonfia per la bramosa enfasi e l'orecchio ritorto per la pressione del copricapo, è della stessa stirpe di Nicodemo nella commovente Deposizione (olio su tela, cm 133x146) della Galleria Nazionale d'arte antica di Roma (1735 ca.). L'opera offre un ampio ventaglio di confronti con la produzione di Marco Benefial in particolare con opere realizzate nei primi anni trenta. Questo induce a ritenere che la Susanna e i vecchioni sia stata dipinta in quel periodo o intorno ad esso, in uno dei momenti migliori nell'attività del pittore, il quale nel 1733 realizzò il suo primo grande ciclo di affreschi con sette Sibille e la Speranza sulle volte di Palazzo Chigi Zondadari a Siena. Questo ciclo fu patrocinato da Niccolò Soderini, uno dei massimi committenti di Benefial, che realizzerà per lui opere come la descritta Deposizione e il suo pendant della Cattura di Cristo, anch'esso nella Galleria Nazionale d'Arte antica di Roma, dipinti d'intenso pathos che anticipano uno dei capolavori del pittore: La Morte della beata Giacinta Marescotti (1736), in San Lorenzo in Lucina a Roma, che descrive con tale forza la sofferenza della santa da sembrare un prodotto del verismo ottocentesco.Marco CiampoliniL'attribuzione, qui proposta dal professor Ciampolini, ci è stata confermata dalla professoressa Stella Rudolph che ha potuto visionare il dipinto su fotografie a colori.

Payment & Shipping

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Shipping

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Auction Details

Dipinti Antichi, Arredi, Arte Orientale, Arte del XIX secolo

by
Finarte Roma
May 27, 2014, 03:00 PM CET

Palazzo Odescalchi Piazza SS. Apostoli 80, Roma, 00187, IT

Terms

Live bidding may start higher or lower

Buyer's Premium

€0 - 100,000:28.0%
€100,001+:21.0%

Bidding Increments

From:To:Increment:
€0€499€20
€500€999€50
€1,000€1,999€100
€2,000€4,999€200
€5,000€9,999€500
€10,000€19,999€1,000
€20,000€49,999€2,000
€50,000+€5,000

Conditions of Sale

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Payment

The following methods of payment are accepted:
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c) by banker's draft and/or certi ed non negotiable cheque payable to Minerva Auctions S.r.l.;
d) by bank transfer to the banking account No. 400851407 in the name of Minerva Auctions S.r.l. with Unicredit Banca - Filiale No. 70 of Rome, Via del Corso No. 307, identi ed with the following banking data: IBAN IT04W0200805181000400851407, SWIFT: UNCRITM1B44.
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