Madona do Rosário com Anjos (Madonna of Rosary with Angels) - Giovanni Battista Tiepolo
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OST - 246x156 - 1735
Giovanni Battista Tiepolo, the greatest painter of the Venetian
Rococo, painted this signed and dated Madonna of the Rosary in
1735, during his early mature period. The dramatic composition, grand scale,
and bold coloring of this painting draw on the rich history of Italian
Renaissance religious art. At the same time, the Madonna’s monumental stature
and elegant pose against the imagined backdrop point toward the fantastical,
theatrical elements of the Grand Manner for which Tiepolo was celebrated. Most
works of this caliber by Tiepolo remain in situ or in major
museums. In fact this seems to be the only large-scale altarpiece still in
private hands. The legendary provenance of this painting includes influential
collector Hugh Andrew Johnstone Munro of Novar and South African diamond
magnate Sir Joseph Benjamin Robinson and his daughter, Princess Ida Louise
Labia.
Despite the prominent signature and date and large size of this
canvas, its original commission has yet to be determined. It was almost
certainly painted for a Dominican church or oratory, as it was this order
that promoted the cult of the Rosary throughout Europe. The popular devotional
practice of praying the rosary enjoyed renewed emphasis during the papacy of
the Dominican Pope Benedict XIII (1724 – 30). Here the Virgin holds a rosary in
her outstretched left hand, as if offering the beads to a devotee, and she
wears the less typical red cloak that associated her with royalty as well
as with the roses symbolically associated with the rosary prayers.
By 1735, the demand for large altarpieces in Venetian churches
had diminished, and Tiepolo had not yet received a major religious commission
there. In the same year, he was employed in Udine, however, and this altarpiece
may have been intended for a church in that provincial city. Catherine Whistler
has also suggested this painting could have been made for a church in Vicenza,
where Tiepolo is recorded in 1734, decorating the Villa Loschi (Zileri dal
Verme). Around this time Tiepolo was asked to decorate the Royal Palace in
Stockholm—an assignment he was able to turn down due to the demand for his
works in Italy.
Art historians have recognized the importance of
this painting for over a century. Antonio Morassi first suggested that
a bozzetto from the Count Seilern bequest to the
Courtauld Institute was a study for the present altarpiece, though Anna
Pallucchini and Helen Braham dated the sketch a decade earlier than our
painting, and Massimo Gemin and Filippo Pedrocco in 1993 rejected any
relationship between the two works. However it seems likely that Tiepolo
began the oil sketch for another commission and it remained in his studio,
where it inspired the 1735 painting. Notable iconographic similarities exist
between the two pictures: the Madonna, raised on a pedestal and surrounded by
angels, wears red rather than conventional blue, an angel draws back her veil,
and she holds a rosary in her left hand and her Son in her right. In our
picture, Tiepolo idealized the Virgin’s features and exaggerated her
contrapposto pose as well as placed her rosary centrally to communicate the
purpose of the altarpiece.
In addition to his own oil sketch, Tiepolo ingeniously
synthesized multiple sources of stylistic inspiration to produce this
innovative altarpiece. Giuseppe Pavanello connected the Madonna’s memorable
pose with Antonio Corradini’s sculpture of a similar Madonna of the Rosary in
the Chiesa delle Eremite, Venice, created in the early 1720s. Indeed, the
present Madonna’s placement on a stone pedestal before a column and curtain and
her elongated stature suggest conventions of sculpture, and both Tiepolo’s and
Corradini’s subjects stretch their hand out with a mannered arrangement of
fingers to offer the rosary to a supplicant.
In his Villa Loschi frescoes in Vicenza, Tiepolo had introduced
statuesque female allegorical figures that likely inspired his treatment of the
Virgin here. An Immaculate Conception still in
situ in Vicenza and dated 1733-34 features the same
facial type for the Madonna. The latter painting in its original altar faced an
altar that had been decorated earlier by Giambattista Piazzetta (1682 – 1754).
Tiepolo certainly knew Piazzetta’s works, in particular the 1725 Vision
of St. Philip Neri for Santa Maria della Fava in Venice, where
Tiepolo had also painted The Education
of the Virgin, dateable to circa 1732. Piazzetta’s
Madonna looks down from above with a commanding presence as she holds the
Christ Child on her right hip, and two angels lift her veil; Tiepolo was
clearly looking at his older contemporary’s works when creating the present
altarpiece.
Whistler has pointed out even older sources for certian motifs
in the Madonna of the Rosary: the gold brocade hanging
behind the Madonna recalls early Venetian masters like Giovanni Bellini, and
the attendant angel kneeling in the left foreground echoes the placement of
similar figures in the works of Mannerist painters Correggio and Parmigianino.
The overall emotion and grandiosity of the Venetian masters Titian, Tintoretto,
and Veronese is evident in Tiepolo's works from the 1730s, and paying homage to
these artists was likely encouraged by his patrons. From the same stylistic
period in Tiepolo's oeuvre is the Adoration of the Christ Child in
St. Mark’s, Venice, which shares with the present picture and with the
16th-century Venetian painters the bold primary colors and chiaroscuro, strong
diagonal composition, and inclusion of attendant angel as well as a putto
floating in on a cloud that adds grace to the scene.
Though the early provenance of the altarpiece is unknown, its
ownership history is well documented from the 1820s. The first confirmed owner
of the painting was John Webb, Esq., who amassed an impressive collection of
Old Masters. It was previously believed that Webb sold this Tiepolo in 1824
with George Stanley, as he had sold about thirty paintings with Stanley in 1823
and a "Tiepolo: Madonna" appears in an 1824 catalogue. In fact,
we have confirmed that it was instead sold with Webb's entire
remaining collection on 11 June 1829 with Harry Phillips. Along with the
Tiepolo, Webb had owned altarpieces from Italian churches and works by Raphael,
Giulio Romano, Caravaggio, David, Greuze, Rembrandt, and Velazquez. This
painting is described in the sale catalogue as “a grand altar piece of
the largest dimensions, representing the Virgin and Child, with attendant
Figures, Angels, &c. This work is the undoubted chef-d’oeuvre of the
master, and displays, in an eminent degree, all the excellencies of the
Venetian school—splendid and harmonious colouring in union with the most
correct and classical drawing. Nothing can exceed the grace and dignity of the
whole composition. The form and attitude of the Virgin, the graceful contour,
and rich glowing tints of the head, the management of the drapery, &c. give
an air of majestic and divine sweetness to this figure, which can scarcely be
surpassed by any production of its class. The accessories are all of the most
appropriate description; and for breadth and boldness of colour, with the
most perfect harmony, this picture may be justly pronounced equal to any of the
best performances of the Italian masters.”
The next illustrious owner of the altarpiece was Hugh Andrew
Johnstone Munro, called Munro of Novar, a close friend and patron of
J.M.W. Turner who also owned Tiepolo's Martyrdom of St. Agatha (circa 1755), now
in Berlin's Gemäldegalerie. Both Tiepolos were sold by Munro's heirs in
1878 and purchased by Galerie Sedelmeyer, and both later entered the collection
of Sir Joseph Robinson, South African gold and diamond magnate and politician.
Robinson purchased Dudley House in London in 1894 and began
collecting to fill his 80-foot picture gallery. The present lot was one of his
earliest acquisitions. He remained in England during the Boer War (1899 - 1902)
after his negotiations with his friend Paul Kruger, president of the Boer
Republic, failed to prevent conflict. In 1908, Edward VII made Robinson a
baronet in honor of his support of the cause of South African self-government.
In 1910, he returned to his home country for good, and in London in 1923 he
would place at auction 116 paintings. However, as Ellis Waterhouse
recounted, when Robinson saw his paintings hung for the sale, he fell back in
love with his own collection and deeply regretted his decision, so much so that
he set prohibitive reserves on this and many of his paintings in order to buy
them back. The Tiepolo and much of the collection passed to Robinson's
daughter, Ida Louise, who married Conte Natale Labia, Italian Minister
Plenipotentiary to the Union of South Africa (d. 1936), and remained in the
family until their two sons sold some of the paintings, including this one, in
1989.
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