Ubaldo GANDOLFI (San Matteo della Decima...

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Ubaldo GANDOLFI (San Matteo della Decima...

Ubaldo GANDOLFI (San Matteo della Decima 1728 - Ravenna 1781)


The Visitation


Canvas (Old restorations)


131 x 98 cm


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*Judicial lot sold by order, no reserve price: reduced fees of 14.40 % in addition to the bids.



Provenance :


Anonymous sale, London, 10 July 1987 (Christie's), No. 121 (attributed to Gaetano Gandolfi).


Walpole Gallery, 1990.



Bibliography:


D. Biagi Maino, Ubaldo Gandolfi, Turin, 1990, n° 37, reproduced fig. 76;


P. Bagni, I Gandolfi, Bologna, 1992, no. 73, reproduced.



Related drawing :


Drawing, Florence, Uffizi Gallery (see Biagi Maino, op. supra, no. 37).



Donatella Biagi Maino dates this painting to around 1767 and relates it to a preparatory drawing kept at the


Uffizi Gallery in Florence (see D. Biagi Maino, op. cit. supra, no. 37). It was during the


the second half of the 1760s that Ubaldo's painting was marked by a new vitality, a more


realism and a keen sense of colour influenced by Venetian painting. The use of shadow


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and light, the fluidity of the painting in our picture are typical of Ubaldo's painting at that time.


period. The spectacular lighting is notable in other compositions as in the Saint Vincent


Ferreri from the church of San Domenico in Budrio, dated 1765 (see D. Biagi Maino, opus quoted above, no. 30,


fig. 66) and the Christ in Glory with St. Lawrence, St. Anthony of Padua, St. Ignatius of Loyola


and Eligio, dated 1766 and preserved in San Mamante de Medicina (see D. Biagi Maino, op. cit. supra, no. 32),


reproduced in fig. 69). Stylistically, Ubaldo's work falls within the framework of the late Bolognese Baroque.


However, still in the 1760s, Ubaldo travelled a lot with his brother Gaetano and visited


Florence and Venice. It is then that the style of the Gandolfi brothers reaches the closest point of


convergence and that the two artists reveal in their works the influence of Venetian painting. Prisco


Bagni, for his part, dates the Visitation to 1763-1765 and brings it closer to Christ and the Canaanite Woman preserved


in the church of Santa Maria della Misericordia (see P. Bagni, op. cit. supra, no. 66 reproduced) and Christ and


the adulterous woman preserved in the Städtische Kunstsammlungen in Augsburg (see P. Bagni, opus quoted above,


No. 70, reproduced).


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