Carlo Maratta

Possibly Abate Campioni, 1692;
L. Marazani, Rome.

Possibly Rome, San Salvatore in Lauro, 1692.

F. Petrucci, 'Repliche nella produzione giovanile del Maratta' in Storia dell'Arte, vol. 129, 2011, pp. 125-128 (as an autograph work).

The painting is a little yellower in colour, and warmer in tone, than the catalogue illustration suggests. The canvas has a fairly recent relining, which has not overly flattened the paint surface, which is secured by a yellowed varnish. To the naked eye, the paint surface appears overall in good condition, with some localized pigment oxidisation in the green centre left and in parts of Christ's blue tunic. There is a small area where the paint has lifted a little (possibly due an old knock) measuring about 2 - 3 cm, in the upper left behind Christ's shoulder. Inspection under Ultraviolet light confirms the mostly good overall condition. A large restored tear can be made out lower right (40 by 10 cm) thought this has sympathetically restored and does not interfere with the main composition. It is sold in a carved and gilded wooden frame, which is structurally sound but has some minor knocks and inactive woodworm.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This octagonal canvas by Carlo Maratta repeats the composition of his fresco for the lunette in the Ludovisi chapel in Sant’Isodoro, Rome.¹  The enlarged space of the octagon allows Maratta to expand on the design he used for the lunette and give more prominence to the angel with the chalice. Furthermore, the extra space along the top and left margins allows him to include three extra figures, a second angel upper right and two sleeping disciples lower left. These extra figures have the effect of emphasising the narrative of this episode in Christ’s passion without losing any of the physiological drama portrayed in the prostrate figure of Christ.

1. See F.R. diFederico, ‘Francesco Trevisani and the Decoration of the Crucifixion Chapel in San Silvestro in Capite’ in The Art Bulletin, vol. 53, March 1971, pp. 62-3, reproduced fig. 18.