Beskrivning: Se beskrivning i den engelska versionen

Catalogue 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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Explore the artists and artworks of Nationalmuseum Sweden.

Antonio Amorosi | Flicka hållande en druvklase | Nationalmuseum

Antonio Amorosi | Girl Holding a Bunch of Grapes | Nationalmuseum

Foto: Erik Cornelius / Nationalmuseum 2010