Gioacchino Assereto

Francesco Queirazza, Monte Carlo, until 1987;
By whom (anonymously) sold, Monte Carlo, Christie's, 3 April 1987, lot 49;
With Heim Gallery, London, from 1987 until 1990;
From whom acquired by E. Constantini, Rome;
Anonymous Sale, Genoa, Art, 18–19 September 2007, lot 475.

L. Trezzani, 'A. come Assereto. Alcuni inediti del pittore Genovese', in Scritti in onore di Giuliano Briganti, Milan 1990, pp. 186–87, reproduced fig. 8;
M. Newcome, Kunst in der Republik Genua, Frankfurt 1992, p. 86, note 1;
E. Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs..., 1999, vol. I, p. 509;
S. Jacob & S. König-Lein, Die Italienische Gemälde des 16. Bis 18. Jahrhunderts, Munich 2004, p. 16;
P. Boccardo and A. Orlando, 'L'eco caravaggesca a Genova. La presenza di Caravaggio e dei suoi seguaci e i riflessi sulla pittura Genovese', in Caravaggio e l'Europa. Il movimento caravaggesco internazionale da Caravaggio a Mattia Preti, Milan 2005, pp. 111 and 115, note 86, reproduced fig. 8;
A. Orlando, in A. Constantini (ed.), 'L'Ecce Homo di Assereto. Genesi di un capolavoro', in In ricordo di Enzo Costantini, Turin 2006, pp. 71–81;
A. Orlando, Dipinti genovesi dal Cinquecento al Settecento. Ritrovamenti dal collezionismo privato, Turin 2010, p. 17;
T. Zennaro, Gioacchino Assereto e i pittori della sua cerchia, Soncino 2011, vol. I, pp. 426–27, reproduced cat. no. A128 and plates LXXXIX, XC, XCI.

The canvas has been relined. The paint surface has been somewhat flattened as a result. However, there are traces of impasto in the white highlights. The paint surface is secure, stable and clean. Inspection under ultraviolet light reveals infilling of craqulure on the torso of Christ. There is some minor and localised retouching in the left eye of Pilate and the pupils of the figure behind Christ, as well as some restrengthening to parts of his hand at the upper right. There is a repaired tear measuring approximately 5 cm at the lower right. There is some minor and localised retouching to the hair and left eye of the figure at lower right. There are repairs to two tears at lower left, one U-shaped, the other horizontal, both measuring approximately 6 cm across. These retouchings are all well executed and not discernible under normal light. Otherwise the painting is free of retouchings and is overall in very good condition. The work is offered in a carved gilt wood Maratta style frame, with a few minor knocks and losses.
"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."

The theme of Ecce Homo was clearly of significance to Giaocchino Assereto, who revisited it numerous times over the course of his career. This is Assereto's last known version of the subject and can therefore be seen as the culmination of his treatment of it. The dynamic composition and free brushwork, along with the reduced palette, led Zennaro to date the painting to the 1640s. Despite its likely date, the work has clear compositional links to an important picture from Assereto's youth, the Ecce Homo of the mid-1620s in the Pinacoteca dei Cappuccini, Voltaggio.¹ In both works five figures are compressed into a vertical picture plane, with Pilate leaning in from the left and presenting a reeling Christ to the viewer.

This Ecce Homo looks to a variety of sources and incorporates them seamlessly. The broad and phlegmatic figure of Christ is possibly derived from Anthony van Dyck’s Genoese Ecce Homo of circa 1625, in the Barber Institute, Birmingham.² The glow behind Christ's head betrays the formative influence of Bernardo Strozzi and the reduced palette and darker tones, typical of Assereto's full maturity, evince a knowledge of late mannerist Lombard painters, such as Cerano, Morazzone and especially Giulio Cesare Proccacini, who spent time in Genoa and left behind several altarpieces. Despite these varied references, Assereto makes the composition his own, balancing the crowded scene in such a way that the spectator's attention is focused on the extraordinarily expressive interaction of hands in the lower part of the picture. Assereto also introduces the startling and pensive figure bent at the lower right, painted with great immediacy, whose gaze seems to convey a troubled conscience.

1.  Zennaro 2011, p. 216, cat. no. A17, reproduced, plates IX and X.

2. S.J. Barnes, N. De Poorter, O. Millar and H. Vey, Van Dyck: A Complete Catalogue of the Paintings, New Haven and London 2004, p. 156, cat. no. II.10, reproduced.