- 308
Daniele Crespi
Description
- Daniele Crespi
- The flagellation of Christ
- oil on canvas
Condition
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Catalogue Note
A date for this composition in the second half of the 1620s is surely correct. Both versions of the Flagellation are clearly part of Daniele’s move from the stylistic exaggerations of the early 1620s, under the influence of his masters, Giovanni Battista Crespi, called Cerano and Giulio Cesare Procaccini, to the more classical, balanced modes of the Bolognese, even Rubensian, Seicento. We should note that the features of Christ in the present Flagellation are more refined than those in the Spanish version. As such, they reflect the handling in the altarpiece Christ in Glory with Nine Saints of 1628 in the Certosa at Pavia or the figure of the Resurrected Christ at Garegnano, a fresco finished in 1629. This might suggest a date towards the end of the 1620s.4
Nancy Ward Neilson
1. N.W. Neilson, Daniele Crespi, Soncino 1996, pp. 30-31, cat. no. 12, reproduced fig. 28B (oil on panel, 120 x 100 cm.).
2. Ibid., pp. 60-61, cat. no. 58, reproduced fig. 5B and p. 59, cat. no. 54, reproduced fig. 5C.
3. G. Bora, in Capolavori della Suida-Manninig Collection, exhibition catalogue, Cremona 2001, p. 54, cat. no. I.8, reproduced; Andrea Spiriti, “Daniele Crespi: la conquista del classicismo”, in Daniele Crespi. Un grande pittore del Seicento lombardo, exhibition catalogue, Busto Arsizio 2006, p. 44; Alessandro Morandotti, in Milano-Genova. Andata/ritorno. Percorsi della pittura tra Manierismo e Barocco, exhibition catalogue, Milan 2012, p. 36.
4. N.W. Neilson, op. cit, pp. 52-53, cat. no. 47, reproduced fig. 33 and pp. 31-35, reproduced fig. 47.