2006
Amico AspertiniPortrait of a Man in a Panoramic LandscapeOil on panel. 45 x 36 cm.
In Fine Art
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Amico Aspertini
Bildnis eines Mannes vor weiter Landschaft
Öl auf Holz. 45 x 36 cm.
Provenienz
Auktion Christie's, London, 8.12.1995, Lot 69. - Toskanischer Adelsbesitz aus einer Wiener Privatsammlung.
Literatur
Ausst.-Kat.: Amico Aspertini 1474-1552, artista bizzarro nell'età di Dürer e Raffaello, Pinacoteca Nazionale di Bologna, 2008, S. 138, Nr. 28 u. S. 139 (Abb.).
Amico Aspertini gilt als einer der unkonventionellsten und eklektischsten Maler der italienischen Renaissance. Er wurde in Bologna als Sohn eines Malers geboren, studierte bei Lorenzo Costa und Francesco Francia. Er reiste nach Rom und in die Toskana und verschmolz später mittelitalienische und nordeuropäische Vorbilder, um eine sehr persönliche Interpretation der Maniera moderna zu schaffen. Aspertini galt bald als ein Maler, der sich nicht an die künstlerischen Normen hielt und einen völlig eigenen Weg beschritt. Amico Aspertini war hauptsächlich in Bologna tätig und arbeitete für Mäzene wie die Familie Bentivoglio und die Augustinerbrüder. Auch er war es, der ausgewählt wurde, einen Triumphbogen am Eingang der Stadt Bologna für den Einzug von Papst Clemens VII. und Kaiser Karl V. im Jahr 1529 zu dekorieren.
Bereits von Giorgio Vasari in seinen Vite als exzentrisch und bizarr erwähnt (uomo capriccioso e di bizzarro cervello), war er für seine Virtuosität bekannt. Aspertini konnte mit beiden Händen parallel zeichnen. Dabei gelang es ihm auch, zeitgleich mit einer Hand helle Partien und mit der anderen Hand dunkle Partien zu zeichnen.
Obwohl er nur wenige Portraits schuf, ist die Verschmelzung italienischer und nordeuropäischer Vorbilder sowie seine Gabe, die Dargestellten in einer so besonderen Art und Weise abzubilden, dass man glaubt ihre Charaktere, ihre Haltungen und Gedanken ablesen zu können, bemerkenswert. Unser Bruststück, welches einen jungen Mann frontal vor einer weiten Landschaft darstellt, folgt den Prototypen des frühen 16. Jahrhunderts. Die Szenerie erinnert an die nordeuropäische Portraitmalerei, die in Italien seit den 1480er Jahren bekannt war, während die blassblaue Palette der Landschaft an die Beispiele Leonardos erinnert. Unser Bildnis, welches zu einer frühen Phase in Aspertinis Oeuvre zählt, entbehrt der späteren Exzentrik und ist vom Einfluss Peruginos und Raffaels geprägt. Es wird im Katalog "Amico Aspertini (1474-1552) - artista bizzarro nell'età di Dürer e Raffaello" von 2008 als eine kleinere, in der Ausführung weniger geschliffene Version des "Portraits eines Mannes" erwähnt, welches sich heute im Frankfurter Städel befindet und auf circa 1505/1506 datiert wird. Auch das uns vorliegende Bildnis kann in das erste Jahrzehnt des XVI. Jahrhunderts datiert werden.
Amico Aspertini
Portrait of a Man in a Panoramic Landscape
Oil on panel. 45 x 36 cm.
Provenance
Auctioned by Christie's, London, 08.12.1995, lot 69. - Tuscan aristocratic ownership from a Viennese private collection.
Literature
Cf. exhib. cat.: Amico Aspertini 1474-1552, arrista bizzarro nell' età di Dürer e Raffaello, Pinacoteca Nazionale di Bologna, 2008, p. 138, no. 28 & p. 139 (illus.)
Amico Aspertini is considered one of the most unconventional and eclectic painters of the Italian Renaissance. He was born in Bologna as the son of a painter, studied under Lorenzo Costa and Francesco Francia and later travelled to Rome and Tuscany. In his works, he combined central Italian with northern European influences to create his own unique interpretation of the “maniera moderna”. Aspertini soon became known as a painter who strayed from artistic norms to go his own way.
Amico Aspertini was mainly active in Bologna, working for patrons such as the Bentivoglio family and the Augustinian brotherhood. He was also the artist chosen to create the triumphal arch for the the entry of Pope Clemens VII and Emperor Charles V into the city of Bologna in 1529. Giorgio Vasari already describes him as bizarre and eccentric in his vita - uomo capriccioso e di bizzarro cervello - but he was known for his exceptional talent as an artist. Aspertini is said to have been able to draw with both hands at the same time, apparently drawing the lighter parts of his compositions with one hand whilst filling in the darker areas with the other.
Although he created very few portraits, Aspertini's manner of blending Italian and Northern European elements allowed him to depict his sitters in such a way that one can almost imagine their character, opinions and thoughts just by looking at them. This bust-length portrait depicts a young man full-face in a panoramic landscape. It follows early 16th century prototypes, whereby the scenery is similar to that used in the northern European portraits that had been known in Italy since the 1480s whilst the pale blueish colour palette is reminiscent of Leonardo. This portrait can be assigned to Aspertini's early phase. It eschews the artist's later eccentricity but clearly displays the influence of Perugino and Raffael. It is listed in the 2008 catalogue “Amico Aspertini (1474-1552) - artista bizzarro nell'età di Dürer e Raffaello” as a smaller, less finely painted version of the “Portrait of a Man” in the Städel Museum in Frankfurt, which is dated to around 1505/6. The present work can be dated to the first decade of the 16th century.
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Amico Aspertini
Bildnis eines Mannes vor weiter Landschaft
Öl auf Holz. 45 x 36 cm.
Provenienz
Auktion Christie's, London, 8.12.1995, Lot 69. - Toskanischer Adelsbesitz aus einer Wiener Privatsammlung.
Literatur
Ausst.-Kat.: Amico Aspertini 1474-1552, artista bizzarro nell'età di Dürer e Raffaello, Pinacoteca Nazionale di Bologna, 2008, S. 138, Nr. 28 u. S. 139 (Abb.).
Amico Aspertini gilt als einer der unkonventionellsten und eklektischsten Maler der italienischen Renaissance. Er wurde in Bologna als Sohn eines Malers geboren, studierte bei Lorenzo Costa und Francesco Francia. Er reiste nach Rom und in die Toskana und verschmolz später mittelitalienische und nordeuropäische Vorbilder, um eine sehr persönliche Interpretation der Maniera moderna zu schaffen. Aspertini galt bald als ein Maler, der sich nicht an die künstlerischen Normen hielt und einen völlig eigenen Weg beschritt. Amico Aspertini war hauptsächlich in Bologna tätig und arbeitete für Mäzene wie die Familie Bentivoglio und die Augustinerbrüder. Auch er war es, der ausgewählt wurde, einen Triumphbogen am Eingang der Stadt Bologna für den Einzug von Papst Clemens VII. und Kaiser Karl V. im Jahr 1529 zu dekorieren.
Bereits von Giorgio Vasari in seinen Vite als exzentrisch und bizarr erwähnt (uomo capriccioso e di bizzarro cervello), war er für seine Virtuosität bekannt. Aspertini konnte mit beiden Händen parallel zeichnen. Dabei gelang es ihm auch, zeitgleich mit einer Hand helle Partien und mit der anderen Hand dunkle Partien zu zeichnen.
Obwohl er nur wenige Portraits schuf, ist die Verschmelzung italienischer und nordeuropäischer Vorbilder sowie seine Gabe, die Dargestellten in einer so besonderen Art und Weise abzubilden, dass man glaubt ihre Charaktere, ihre Haltungen und Gedanken ablesen zu können, bemerkenswert. Unser Bruststück, welches einen jungen Mann frontal vor einer weiten Landschaft darstellt, folgt den Prototypen des frühen 16. Jahrhunderts. Die Szenerie erinnert an die nordeuropäische Portraitmalerei, die in Italien seit den 1480er Jahren bekannt war, während die blassblaue Palette der Landschaft an die Beispiele Leonardos erinnert. Unser Bildnis, welches zu einer frühen Phase in Aspertinis Oeuvre zählt, entbehrt der späteren Exzentrik und ist vom Einfluss Peruginos und Raffaels geprägt. Es wird im Katalog "Amico Aspertini (1474-1552) - artista bizzarro nell'età di Dürer e Raffaello" von 2008 als eine kleinere, in der Ausführung weniger geschliffene Version des "Portraits eines Mannes" erwähnt, welches sich heute im Frankfurter Städel befindet und auf circa 1505/1506 datiert wird. Auch das uns vorliegende Bildnis kann in das erste Jahrzehnt des XVI. Jahrhunderts datiert werden.
Amico Aspertini
Portrait of a Man in a Panoramic Landscape
Oil on panel. 45 x 36 cm.
Provenance
Auctioned by Christie's, London, 08.12.1995, lot 69. - Tuscan aristocratic ownership from a Viennese private collection.
Literature
Cf. exhib. cat.: Amico Aspertini 1474-1552, arrista bizzarro nell' età di Dürer e Raffaello, Pinacoteca Nazionale di Bologna, 2008, p. 138, no. 28 & p. 139 (illus.)
Amico Aspertini is considered one of the most unconventional and eclectic painters of the Italian Renaissance. He was born in Bologna as the son of a painter, studied under Lorenzo Costa and Francesco Francia and later travelled to Rome and Tuscany. In his works, he combined central Italian with northern European influences to create his own unique interpretation of the “maniera moderna”. Aspertini soon became known as a painter who strayed from artistic norms to go his own way.
Amico Aspertini was mainly active in Bologna, working for patrons such as the Bentivoglio family and the Augustinian brotherhood. He was also the artist chosen to create the triumphal arch for the the entry of Pope Clemens VII and Emperor Charles V into the city of Bologna in 1529. Giorgio Vasari already describes him as bizarre and eccentric in his vita - uomo capriccioso e di bizzarro cervello - but he was known for his exceptional talent as an artist. Aspertini is said to have been able to draw with both hands at the same time, apparently drawing the lighter parts of his compositions with one hand whilst filling in the darker areas with the other.
Although he created very few portraits, Aspertini's manner of blending Italian and Northern European elements allowed him to depict his sitters in such a way that one can almost imagine their character, opinions and thoughts just by looking at them. This bust-length portrait depicts a young man full-face in a panoramic landscape. It follows early 16th century prototypes, whereby the scenery is similar to that used in the northern European portraits that had been known in Italy since the 1480s whilst the pale blueish colour palette is reminiscent of Leonardo. This portrait can be assigned to Aspertini's early phase. It eschews the artist's later eccentricity but clearly displays the influence of Perugino and Raffael. It is listed in the 2008 catalogue “Amico Aspertini (1474-1552) - artista bizzarro nell'età di Dürer e Raffaello” as a smaller, less finely painted version of the “Portrait of a Man” in the Städel Museum in Frankfurt, which is dated to around 1505/6. The present work can be dated to the first decade of the 16th century.
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