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Antiveduto Gramatica
1569 - 1626年,羅馬
DAVID RETURNING TRIUMPHANT WITH THE HEAD OF GOLIATH
oil on canvas
142.5 x 197.5 cm.; 56 1/8  x 77 3/4  in.
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來源

Principi De Ferrari, Palazzo de Ferrari, Genoa;
Anonymous sale, Rome, Christie's, 18 June 2003, lot 420, where acquired.

展覽

Siena, Palazzo Squarcialupi, Roma e Siena: Echi e opera. Raffaello e Caravaggio al centro di un rapporto millenario, November 2005 – February 2006.

出版

B. Santi and C. Strinati (eds), Roma e Siena: Echi e opera. Raffaello e Caravaggio al centro di un rapporto millenario, exh. cat., Siena 2005, pp. 412–13.

相關資料

Antiveduto was highly considered by his contemporaries and was elected 'principe' of the Accademia di San Luca in 1624. He painted this large canvas in the characteristic chiaroscuro which defined Roman art of the first two decades of the seventeenth century – it shows an assuredness and complexity of design, particularly in the web of figures to the right, not always evident in the artist's corpus. The large dimensions of the canvas, as well as the quality, suggest that the painting was surely intended for a large quadreria and may have been commissioned by one of the artist's major patrons, such as the Marchese Vincenzo Giustiniani or Cardinal Del Monte, though no archival findings can confirm this hypothesis yet. 

The scene shows the young David returning to Jerusalem, denoted by the city walls, after his triumph over the Philistine hero, Goliath. From the city six figures rush out with musical instruments to cheer his success and the Israelites' victory, in much the same way as the citizens of Jerusalem were to celebrate Christ's entry into the city some centuries later. In the distance the Vale of Elah can be made out, where the battle between the Israelites and Philistines was fought, as well as Bethlehem, making explicit the identification of David as the precursor of Christ.

The attractive maiden to the right playing the tambourine recalls the physiognomy, as well as the richly-embroidered dress, of the figure of Justice in Antiveduto's Justice and Peace embracing, the present whereabouts of which are unknown.1 Several other works by the artist include the theme of music and musical instruments, including the Saint Cecilia with two angels in the Kunsthistorisches Museum, Vienna.2

1. G. Papi, Antiveduto Gramatica, Soncino 1995, p. 120, cat. no. 69, reproduced fig. 42.
2. Ibid., p. 106, cat. no. 40, reproduced fig. 27.

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