Bernardo Strozzi Genoa 1581 - 1644 Venice

Caterina Marcenaro collection, Genoa, by 1977.

L. Mortari, "Nuove aggiunte allo Strozzi", in Commentari, vol. XXVIII, 1-3, 1977, pp. 105 and 112, reproduced fig. 7;
M. Newcome, "Oil Sketches and drawings by Strozzi", in Antichità Viva, vol. XXXII, no. 6, 1993, p. 14 (as whereabouts unknown);
L. Mortari, Bernardo Strozzi, Rome 1995, pp. 42 and 168, cat. no. 387, reproduced, and again in colour on p. 43, plate XVIII (with additions along both vertical sides).

The catalogue illustration is rather too dark and too red in tone. The painting has recently been relined, cleaned and restored. Inspection under ultra-violet light reveals a large number of repairs to old tears and damages in several parts of the picture surface. The largest of these is an extended area of damage, probably originally consisting of old interlaced tears, which runs from just below the feet of Christ, across through the heads of both angels lower right, then upwards in an unbroken line along Christ's staff extending as far as His hand. Another, a repaired area of damage, starts in the bottom left loop of Christ's drapery and extends across horizontally across His thighs. Another horizontal tear starts on His right cheek and extends sideways horizontally beyond His banner to the clouds on the right margin. Another tear extends in from the right hand edge about 15 cms. at the top of the largest cloud upper right. There are, in addition to these, numerous smaller lacunae scattered across Christ's torso and his left arm: these have been well carried out and are not obtrusive to the naked eye. The remaining surface appears well preserved with some original impasto in evidence. The new varnish is glossy and even, and the painting will not require further attention. This lot is offered in a later gilt wood frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This energetic canvas by Bernardo Strozzi was probably painted as a bozzetto - or more likely a modello - for an as yet unidentified altarpiece or fresco. The perspectival foreshortening of the figure of the risen Christ - painted 'dal sotto in su' - suggests that the design was meant to be viewed slightly from below; rather like Strozzi's altarpiece of The Assumption of the Virgin, probably originally painted for the church of San Domenico, Genoa, and now in a private collection.¹  The compositions in these two paintings are extremely similar: a single figure stands in the centre with putti at His or her feet, and a dense cloudy sky acts as a backdrop to the scene. The Assumption is to be considered one of the last works Strozzi executed in Genoa, in around 1630, and a similar dating towards the end of the artist's Genoese period or at the beginning of his Venetian sojourn has been proposed for The Risen Christ. Strozzi left Genoa and moved to Venice in late 1630 or early 1631, remaining there until his death thirteen years later. The Risen Christ has much in common with works Strozzi painted whilst in Venice and it demonstrates a clear knowledge and understanding of the key figures in Venetian High Renaissance art, namely Titian and Veronese. The creamy modelling and colourful palette in The Risen Christ anticipate in some way those in Strozzi's Annunciation in the Szépmüvészeti Múzeum, Budapest, which has also been dated to the artist's Venetian period.²

The painting has been cleaned and restored since its last publication, in which it also appeared with additional strips (not original) along both vertical sides.³  The painting's elongated format is better suited to the composition: the figures, particularly the putti in the lower part of the painting, burst out of the picture space and the rectilinear format of the canvas better mirrors the strong upward movement of the resurrected Christ.

1  See L. Mortari, under Literature, 1995, p. 167, cat. no. 383, reproduced (offered for sale, Milan, Christie's, 22 May 2007, lot 108).
2  Inv. no. 185: see Mortari, op. cit., p. 205, cat. no. 547, reproduced.
3  See Mortari, ibid., reproduced in colour on p. 43, plate XVIII.