Head of an Angel
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 53 x 44 cm
Inventory numberNM 182
AcqusitionTransferred 1866 from Kongl. Museum (Martelli 1804)
Other titlesTitel (sv): Änglahuvud Titel (en): Head of an Angel Titel (en): Head of the Archangel Gabriel
DescriptionRes. Katalogtext: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 88: FORMER INV. NOS.: 166 (M. 1796–97); 221 (F. 1798); 193 (M. 1804); KM 802. TECHNICAL NOTES: Labelled on verso: “Sirani Annunziata Ovato”. The support consists of a single piece of thin, densely woven, plain-weave linen fabric. It has been glued to hardboard (marouflage), probably at the Nationalmuseum. The tacking edges are cropped. The ground is red and covers the whole support. The painting was originally oval, and has the remains of a painted golden frame along the borders. Impastos such as brushstrokes have been flattened due to the marouflage. There are numerous old retouches and grey fillings that have not been inpainted. These fillings are now covered by the frame and the painting is displayed as circular. The varnish is yellowed. PROVENANCE: Martelli 1804. BIBLIOGRAPHY: NM Cat. 1867, p. 13 (as Elisabetta Sirani); Sander 1872–76, III, p.110, no. 193 (as Sirani); Göthe 1887, p. 245 (as Giovanni Andrea Sirani); NM Cat. 1958, p. 233 (as anonymous, 17th century); NM Cat. 1990, p. 145 (as Luca Giordano, manner of). Given their close numbers in the original inventory of the Martelli Collection, the present painting and NM 183 (cat. no. 89) were probably kept as companion pieces. They were both attributed to the same artist, namely the Bolognese Giovanni Andrea Sirani (1610–1670). This is further confirmed by the original labelling on the reverse of the canvases. The labels were switched, presumably at a much later stage, so that the correct label of NM 182 (“Sirani Gabriele Ovato”) ended up on the back of NM 183. This explains why the present painting bears an original, yet incorrect, label as to its subject matter. Martelli and his appraisers Stefano Tofanelli and Domenico Corvi only specified the surname of the artist. The first name, in its French form “Jean André”, appears only in the inventory taken in Stockholm on the basis of Martelli’s original list. It is thus not possible to ascertain fully to which of the Sirani painters Martelli, Tofanelli and Corvi assigned the ovals. Stylistic analysis and documentary evidence offer a suggestion. Together, NM 182 and NM 183 form a charming unity composing the motif of the Annunciation. This is clearly evidenced in the angel’s energetic attitude and in the lilies, symbols of innocence, in his hand. The Virgin, as a result, poses in a humble attitude with lowered head, leaving her eyes and gaze hidden by shadows. The fluent, soft and luminous style points to the oeuvre of Elisabetta Sirani, Giovanni Andrea’s talented daughter who, despite her early death, gained a much respected position on the Bolognese artistic scene. Her dependence on artists such as Giovanni Francesco Gessi (1588–1649) and, in particular, Flaminio Torri (1656–1700) is very evident from a comparison of their works with NM 182 and NM 183.¹ An important source regarding Elisabetta’s output is the list that she wrote of her own work, which was published after her death.² This detailed document offers a fascinating insight into her preferred subjects and formats, which apparently also pleased her customers. Clearly, she specialized in intimate sizes, quadri da stanza, that could suit many pockets and spatial restrictions. There are innumerable ovals and quadri da testa with companions, forming themes of an intimate character, often with religious or allegorical motifs. An interesting annotation from 1662, two years before her death, may shed light on the two Nationalmuseum paintings: “A head of natural size of an Angel as a companion to a head that I have already made of the Blessed Virgin in the same size, not knowing the owner.”³ Many of the artist’s commissioners were well known to her and sometimes, as appears from her careful account, they were of high rank. In this particular case, the companion pieces went on to unknown owners and, plausibly, into less important collections. It is possible to advance the hypothesis that the two paintings eventually ended up on a market which, more than a century later, would favour collectors like Nicola Martelli. The poor condition of the paintings does not detract from their pictorial quality and historical interest as examples of domestic religious art. sne 1 La Pittura in Italia. Il Seicento, Milan, 1988, p. 888. 2 “Nota delle pitture fatte da me Elisabetta Sirani”, Malvasia 1841, pp. 393–400. 3 Malvasia 1841, p. 398: Una testa del naturale d’un Angelo per compagno di una testa, che già feci d’una B.V. [Beata Vergine] di simile grandezza non sapend’io il padrone.[End]
Motif categoryReligion/Mythology
Collection
TechniquePainting
Object category
Keyword