Francesco Mancini (S. Angelo in Vado 1679-1757 Rome) The Rest on the Flight into Egypt 135.5 x 100 cm. (53 3/8 x 39 3/8 in.)

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Lot 31
Francesco Mancini
(S. Angelo in Vado 1679-1757 Rome)
The Rest on the Flight into Egypt 135.5 x 100 cm. (53 3/8 x 39 3/8 in.)

Sold for £ 24,000 (US$ 31,325) inc. premium
Francesco Mancini (S. Angelo in Vado 1679-1757 Rome)
The Rest on the Flight into Egypt
bears signature on the reverse of the original canvas `Carlo Maratti`
oil on canvas
135.5 x 100 cm. (53 3/8 x 39 3/8 in.)

Footnotes

  • PROVENANCE:
    Private collection Portugal

    The present lot is an autograph replica of the prototype by Francesco Mancini in the Pinacoteca Vaticana, The Vatican, Rome.

    Trained in Bologna in the school of the most important Emilian artist of the late 17th century, Carlo Cignani, alongside the older Marcantonio Franceschini, Mancini's oeuvre is rooted in the classicist tradition of Bologna and Emilia Romagna. In his lifetime Mancini was instrumental in the development of the form and iconography of the altarpiece, and his achievements are formidable in the extent of his ecclesiastical commissions in Rome and the provinces and in his acceptance as a highly skilled painter in being elected a French Academician in 1732, associate and regent of the Congregazione dei Virtousi al Pantheon in 1743, and principal of the Accademia di San Luca between 1750 and 1751. Mancini was in Rome by 1725 and was made an academician of S. Luca, in the same year he was made a Cavaliere by Pope Benedict XIV. By 1730 Mancini was approaching the period of his greatest achievement and recognition. His activity extended outside of Italy to Portugal where he was to send pictures for the decoration of the royal monastery of Mafra commissioned by King John V. The monastery at Mafra was used by the Portuguese royal family as a hunting lodge, and was abandoned in 1834 after the dissolution of all religious orders. Mancini was to attract pupils including Giovanni Andrea Lazzarini, Nicola Lapiccola and the accomplished Domenico Corvi. Mancini carried forward the template of mixing the Classical and the Baroque traditions as laid down by Carlo Maratta and his Emilian master Cignani, and introduced a highly refined style with muted colours and a smoothness of execution which anticipate the Neoclassicism adopted by his pupils towards the end of the century. The present lot with its intimate and tender interpretation of the theme clearly shows Mancini's brilliant handling and refined colour.

    We are grateful to Dr. Erich Schleier for confirming the attribution to Francesco Mancini on the basis of colour photographs (written communication 27th May, 2005).

Saleroom notices

  • We are grateful to Dr Stella Rudolph for confirming the attribution on the basis of colour photographs (written communication 7th June 2005).
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