Powerful 1800s VERONESE Engraving "The Martyr of St Sebastian" Framed SIGNED COA

Description: --> Four Centuries of the world's finest artists from our collection to yours --> Thank you for visiting... Click here for HOT DEALS | Click here for our NO RESERVE AUCTIONS Please feel free to ask any questions you might have about this work and we will answer promptly.International bidders are always welcome to bid and we combine shipping on all orders. --> Artist: Paolo Veronese (Venetian, Italian, 1528–1588) Title: The Martyr of St Sebastian and his Companion (Saints Mark and Marcellian taken to their Martyrdom) Medium: Antique engraving on wove paper after the original oil on canvas by master engraver Conard Geyer (British, 1816 - 1893). Year: 1870 Signature: Signed in the plate. Condition: ExcellentDimensions: Image Size 5 1/4 x 7 5/8 inches. Framed dimensions: Approximately 14 x 17 inches. Framing: This piece has been professionally matted and framed using all new materials. Additional notes: This is not a modern print. This impression is more than 150 years old. The strike is crisp and the lines are sharp. The original oil on canvas is housed in the Church of St. Sebastian, Venice, Italy. Extra Information:Martyrdom of Sts Mark and Marcellian (wrongly identified as the martyrdom of St Sebastian in the title), after Veronese: classical setting with group of figures walking down some stairs; among them is a man with a halo; he is preceded by a man wearing an armour, who turns round and orders people to follow him; at left rear is a woman with her arms outstretched. Mark and Marcellian (Latin: Marcus et Marcellianus) are martyrs venerated as saints by the Roman Catholic Church and the Eastern Orthodox Church. Their cult is sometimes associated with that of Saints Tranquillinus, Martia, Nicostratus, Zoe, Castulus, and Tiburtius, though not in the official liturgical books of the Church, which mention only Mark and Marcellianus (in first place) among the saints for 18 June. Their mention in the General Roman Calendar on that date from before the time of the Tridentine calendar was removed in the 1969 revision, because nothing is known about them except their names, the fact of their martyrdom, and that they were buried on 18 June in the cemetery of Santa Balbina on the Via Ardeatina. Their legend states that they were martyred at Rome under the Emperor Diocletian towards the end of the third century, most likely in the year 286. They are mentioned in most of the ancient martyrologies, including the Roman Martyrology, and their martyrdom is described in the Acts of St Sebastian, which, though ancient, is largely legendary. The original painting is for the most part quite faithful to the Golden Legend's account of St. Sebastian's encouragement of the young martyrs-to-be. In his gleaming armor he stand dramatically in the center of the scene and urges them to ignore the "blandishing words of women" who want them to recant and save their lives. Grouped around Sebastian and the youths are all the family members mentioned in the Legend. The mother on the left extends her arms in supplication, "showing her paps" – or as much of them as might be fitting in the presbytery of a church. The gray-bearded father on the right is "brought between two servants." On the lower steps are "the two wives of these two sons, which bare in their arms their children." Above this central group is the "youngling clad with a white mantle" who appeared with the message, "Thou shalt be alway with me." Seeing this, the Legend says the jailer's wife "fell down to his [Sebastian's] feet, and by signs of her hands made prayers to him." That would be the woman kneeling in the purple dress. Veronese makes a few changes that heighten the drama. One is to set the episode outdoors on the steps of the prison. The Legend and other narratives put it inside the prison during the thirty days that the men were given to think it over. After this episode the narratives add several miracles and conversions that take place during the thirty days. The artist also adds a young man behind Sebastian holding a staff with a vexillum flying dramatically in the wind, a visual echo of Sebastian's gesture and a clever way of getting a cross into the picture. In a more poignant echo, a monkey standing behind the mother extends its arms to imitate her anguished gesture. With the turbans worn by several onlookers the monkey makes the scene seem exotic and oriental, even though the events actually occurred in Rome. Another innovation is to suppress the "mantle" and "girdle of gold" in Sebastian's uniform, putting him instead in a splendid suit of contemporary armor. Finally, several of the onlookers wear turbans even though the events occurred in Rome. Artist Biography: Paolo was born in Verona – hence his nickname 'Veronese'. His father was a stonecutter and his mother was the illegitimate daughter of a nobleman called Caliari, a name the artist adopted in the 1550s. Veronese moved to Venice in the early 1550s and stayed there for the rest of his life, becoming one of the leading painters of the 16th century. He was trained in Verona by Antonio Badile (about 1518–1560) whose daughter he married in 1566. Subsequently, it seems he served a stint in the studio of Giovanni Battista Caroto (1488–about 1563/6). The roots of his style may be located in the antique architecture and sculpture of Verona, but are ultimately his own synthesis of Central and Northern Italian influences. In Venice, Titian's approach to composition, narrative, and colouring was crucial for Veronese, but his work is characterised by principles of harmony and compositional cohesion that owe as much to Raphael and the Central Italian tradition as to the Venetian. The flowing, sinuous line of Parmigianino is also an important precedent. Giulio Romano and his Venetian colleague and rival Tintoretto were also significant touchstones at various points of Veronese's career, but his outlook is ultimately classical and harmonious in a way we tend not to associate with their work, and what has come more broadly to be understood as Mannerism. For most of his career, Veronese worked for patrons, religious and secular, in Venice and the Veneto. Among his important works are the full-scale decoration of the Venetian church of S. Sebastiano (1555–around 1570), his ceiling and wall paintings for the library of S. Marco (1556–57) and the Ducal Palace (early 1550s and 1575–82), and his fresco decorations of the Villa Barbaro at Maser (around 1560), as well as a range of major altarpieces. From the 1560s onwards he also produced mythological pictures for an international clientele. One of his specialities were large-scale scenes of feasts, and one of these, a Last Supper painted for a Dominican friar in 1573 (now in the Accademia in Venice), provoked the Inquisition because it included a wealth of what the inquisitors perceived to be irreverent detail. Veronese defended the painter’s right to ‘take the same licence as poets and jesters take’. He eventually changed the title to ‘Supper in the House of Levi’, rather than revise the painting itself. Veronese ran a large workshop, assisted by his brother Benedetto and his sons Gabriele and Carlo (or 'Carletto'). They carried on his studio after his death. Accompanied by a Certificate of Authenticity and is Fully Guaranteed to be Certified as Described Framing Any framing included in a listing is double matted and framed in a solid wood moulding. We can also frame any pieces not listed as such. Please contact us for pricing. We are usually half the price of a regular framer. 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Price: 289 USD

Location: Cape Coral, Florida

End Time: 2025-01-20T22:30:00.000Z

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