Scuola Lombardo-Padana (XVII)

Lombardo-Padano School of the XVII Century - Santa Maria Maddalena Penitent - Signed "D. HONOFRIO" - 125x90 cm HISTORICAL-ICONOGRAPHIC REPORT Technical Sheet of the Work • Subject: Santa Maria Maddalena Penitent in the desert • Epoch: 17th century (Full Baroque period) • Cultural ambit: Lombardo-Padano School (with influences from the Cremonese/Emilian area) • Technique: Oil on canvas (re-lined) • Dimensions: 90 cm (width) x 125 cm (height) • Frame: No (lot presented without a frame) • Signature/Inscription: Signed in capital letters at the base: "D. HONOFRIO" • State of conservation: Good overall condition, with widespread coeval craquelure. Re-lined painting. 1. Historical-Artistic Context The examined painting, of important monumental dimensions (90 x 125 cm), fits with absolute coherence into the figurative production of the Lombardo-Padano area in the 17th century, showing strict stylistic affinities with devotion painting flourishing between southern Lombardy (Cremona area) and Emilia. The signature "D. HONOFRIO", placed in period capitals at the base of the composition, constitutes the most interesting historical and collecting element. The dotted letter "D." should be interpreted according to 16th-17th century norms as an honorary/religious title (Don or Dominus), indicating the hand of a priest-painter or a religious cleric active in the territory. In the 17th century, the figure of the religious-artist was common and answered local patrons’ need for sacred images of rigorous theological orthodoxy. The archaic script with the etymological "H" (Honofrio) further confirms dating and authenticity of the inscription, excluding late interventions or forgeries. 2. Iconographic and Theological Analysis The subject depicted is one of the core themes of Counter-Reformation art: Saint Mary Magdalene in ascetic meditation. The work distances itself from more sensual or profane versions of the Saint, embracing a severe, intellectual, and deeply spiritual vision of repentance, typical of the mid- to late Seicento. The composition is dense with coded symbolic elements (the so‑called iconographic attributes): • The Scourge (the whip): Placed on the rocky table on the left, it replaces the canonical mirror of Vanitas. The presence of discipline highlights mortification of the flesh and physical expiation of sin, a rare and highly sought iconographic detail that situates the work in the climate of close Catholic observance after the Council of Trent. • The Skull and the Closed Book: Located in the foreground, lower left, they constitute the fulcrum of meditation on the Memento Mori (the transience of earthly life) and silent prayer. • The Crucifix and the Rosary: Placed in the darkness of the cave, indicate the only path of salvation and the Saint’s constant devotion to the Passion of Christ. The Magdalene’s posture, hands joined in prayer and gaze ecstatically directed toward the divine light piercing the clouds, heightens the theatrical pathos and expressive sensibility typical of Baroque responsiveness. 3. Stylistic and Compositional Analysis Formally, the work shows notable executive skill and a vigorous plastic setup. The Saint’s figure is built with solid, monumental volumes, reflecting the great Padana naturalistic tradition. • Chiaroscuro: The painting is structured around a strong light-dark contrast. The left part, dominated by the cave’s darkness and the symbols of penance, contrasts with the right side, where the scene opens onto a hill landscape under a sky crossed by sunset clouds, creating depth and atmospheric breadth. • Drapery: Of great silvered and golden quality, the mantle enveloping the Saint’s hips is rendered with dense, snapping folds that reflect light with almost metallic effects, a stylistic device recalling the workshops of the Cremonese and Milanese area in the second half of the Seicento. • Anatomy and Expression: The robust arm anatomy, the precise definition of interlaced fingers, and the fully oval-shaped face demonstrate the hand of a skilled local craftsman capable of combining Lombard realism with Emilian classicism. 4. State of Conservation and Notes for the Collector The work is overall in good condition. The canvas underwent a past relining to stabilize the support. The painted surface shows widespread coeval craquelure (period craquelure), a fundamental element attesting to antiquity and authenticity of the 17th-century materials, preserving intact and perfectly legible the original brush signature at the base. The painting is presented without a frame. Origin: Italian private collection, acquired on the Cremona antique market in the 1970s/1980s. Shipping: the painting will be carefully packed and entrusted to an appropriate courier. Delivery times abroad may vary depending on the destination country and customs procedures. Any duties, taxes, and import charges applied in the destination country are the buyer’s responsibility. A certificate of rightful provenance will be issued by me as the legitimate owner; the painting was inherited from my father, a well-known painter and collector. Good auction to all

Estimación:€3,000

Ver todos los artículos deCatawikioVarios