Girl Holding a Bunch of Grapes
Artist/Maker
Material / Technique
Dimensionsh x w: Mått 25 x 20 cm h x w x d: Ram 37 x 31 x 4 cm
Inventory numberNM 16
AcqusitionTransferred 1866 from Kongl. Museum (Martelli 1804)
Other titlesTitle (sv): Flicka hållande en druvklase Title (en): Girl Holding a Bunch of Grapes
DescriptionCatalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 2: FORMER INV. NOS.: 228 (M. 1796–97); 106 (F. 1798); 449 (M. 1804); KM 113 TECHNICAL NOTES: Labelled on the verso of the canvas “Amorosi. Putta. Mart. 449”. Painted on a densely woven, plain-weave linen fabric, on a red ground. The support has been glue-lined and mounted on a non-original stretcher. There are some old discoloured retouches. The varnish is slightly yellowed. Documented restoration: 1983: Removal of old retouches and yellowed varnish. Retouching. Varnish. PROVENANCE: Martelli 1804. BIBLIOGRAPHY: NM Cat. 1867, p. 2 (as Amorosi); Sander 1872–76, p. 135, no. 449 (as Amorosi); Göthe 1887, p. 4 (as Amorosi); NM Cat. 1958, p. 2 (as Amorosi); Faldi Guglielmi 1961, p. 13; Bardin Tognoli 1986, p. 715; NM Cat. 1990, p. 4 (Amorosi, manner of); La Pittura in Italia. Il Settecento, 1994, vol. II, p. 603; Maggini 1996, no. 9a, p. 102; Contini 2002, p. 382, fig. 1 (as Amorosi). In the earliest list of the Martelli Collection, this painting was clearly given to Antonio Amorosi. In the 1990 Nationalmuseum catalogue of European paintings, its authorship was reduced to manner of that artist. The 18th-century attribution, as confirmed by Amorosi scholarship, is nevertheless entirely correct and leaves no doubt concerning the painter’s identity. The small-scale genre-related motif and cheerful characterization of an infant are typical of Amorosi’s oeuvre. As he often painted children in intimate domestic interiors, the NM painting strikes us with its more solemn setting, defined by an elegant column and drapery – details that bring to mind the conventional mise en scène of elite portraiture. The little girl’s connection with a higher social class is shown through the elegant hairdo and precious jewellery, such as the delicate pearl earring. The heavy gold chain around her neck holds a heavy medallion that is given further prominence by the girl’s gesture. A good comparison may be made with a Portrait of a Girl (private collection), which shows great similarities with the NM painting in the modelling of the face and the design of the hands, the latter emphasized by the gesture of showing a pearl necklace. The outspoken display of the medallion may allude to the tradition, particularly in evidence during the Renaissance period in Italy, for children (and adults) to wear precious stones in order to protect themselves from harm. Evils such as diseases, accidents, misfortunes or epidemics were thought to be kept in check by the wearing of amulets in the form of different and well-defined stones. The motifs engraved on the gemstones enhanced their purpose of protecting body and mind: healing animals were scorpions, dragons and serpents. Counter-Reformation culture did not overcome these superstitions, although the ' focus shifted from magical symbols and animals towards the incorporation of holy relics or images of Christ, the Virgin or the saints.¹ As a protective a mulet, but also a beautiful piece of jewellery, the necklace and medallion serve a double purpose in this painting. By showing the playfulness as well as the fragility of children, Amorosi links the motif to a slight sense of allegory that suited both the genre of bambocciate and his audience. The smiling child, so frequent in the painter’s oeuvre, has an interesting connection to High Renaissance portraiture featuring children, Sofonisba Anguissola’s Sisters Playing Chess (1555) being the most obvious example. Claudio Maggini dates the painting to the 1690s but not later than 1700. SNE 1 Cavallo 2006, pp. 186–187. [end]
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TechniquePainting
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