Attributed to Jacopo Amigoni (Venice 1682-1752 Madrid)Self-portrait of the artist, half-length, in a brown fur-lined coat oil on canvas 73.4 x 54.7cm (28 7/8 x 21 9/16in).FootnotesOne of the best known self-portraits of Jacopo Amigoni is that in the National Gallery of Art, Victoria (Felton Bequest, 1950 (2226-4)), in which the painter appears with the singer Farinelli and friends. This latter work is considered to date from very late on in Amigoni's life, most probably 1750. The composition of the present self-portrait corresponds approximately, in reverse, with the engraving by Alessandro Longhi in his Compendio delle vite de' Pittori Veneziani (see fig. 1) published in 1762, ten years after Amigoni's death. It is therefore possible that the present self-portrait served as the prototype for Longhi's engraving. It also suggests that the current work was executed in the artist's home city of Venice and not in any of the other European centres in which Amigoni was active. After his stay in Britain, the painter returned to his native city in 1740 only to depart again 5 years later for Madrid, where he was to spend his final years. Stylistically, the present work can be compared to Amigoni's portrait of the German merchant and patron of the arts, Sigismund Streit (Staatliche Museen, Berlin), which dates to a similar moment in the artist's career.
Attributed to Jacopo Amigoni (Venice 1682-1752 Madrid)Self-portrait of the artist, half-length, in a brown fur-lined coat oil on canvas 73.4 x 54.7cm (28 7/8 x 21 9/16in).FootnotesOne of the best known self-portraits of Jacopo Amigoni is that in the National Gallery of Art, Victoria (Felton Bequest, 1950 (2226-4)), in which the painter appears with the singer Farinelli and friends. This latter work is considered to date from very late on in Amigoni's life, most probably 1750. The composition of the present self-portrait corresponds approximately, in reverse, with the engraving by Alessandro Longhi in his Compendio delle vite de' Pittori Veneziani (see fig. 1) published in 1762, ten years after Amigoni's death. It is therefore possible that the present self-portrait served as the prototype for Longhi's engraving. It also suggests that the current work was executed in the artist's home city of Venice and not in any of the other European centres in which Amigoni was active. After his stay in Britain, the painter returned to his native city in 1740 only to depart again 5 years later for Madrid, where he was to spend his final years. Stylistically, the present work can be compared to Amigoni's portrait of the German merchant and patron of the arts, Sigismund Streit (Staatliche Museen, Berlin), which dates to a similar moment in the artist's career.
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
