Alessandro Gherardini attr.
Florence 1655 - Livorno 1727
Saint Cecilia
Early 18th century
Olio on canvas
in 45,67x35,24
Francesco Saverio Baldinucci, in the first half of the 18th century, described the biography of Alessandro Gherardini and the composition of the painting as follows:
“He returned to Florence, where he painted several works for his said friend and patron Alessandro Del Grazia. Among these was a depiction of Saint Cecilia, with an angel playing the violin while she holds the music sheet before him”
This description is from Baldinucci's Zibaldone Baldinucciano (Baldinucci F., Zibaldone Baldinucciano, 2 voll. Firenze, 1981, II, pp. 503-504). Baldinucci Jr., in his detailed biography, also mentions a companion piece:
“As its pendant, he created a Saint Agatha expiring from the cruel cutting of her breasts, supported by an angel while the Apostle Saint Peter descends from Heaven to heal her wounds”
This second composition by the artist is also known, albeit unpublished, in a painting preserved at San Michele a Ronta in the Mugello, along with a companion canvas depicting the Mystical Marriage of Saint Catherine of Alexandria (another version of this painting was exhibited at Il falso e la ragione, Florence 2009, cat. no. 12, p. 86).
Although it is uncertain whether the Saint Cecilia mentioned is the one executed for Del Grazia or another version—since Gherardini often repeated his most successful compositions—the biographer’s account is significant. It not only confirms the evident authorship of the great Florentine painter, widely regarded as the most talented artist of Florence between the 17th and 18th centuries, but also provides chronological context.
Baldinucci refers to a specific period in Gherardini's career: the years following his return to Florence from Livorno in 1702. This period preceded his permanent relocation to the Tuscan capital seven years later, after a visit from King Frederick IV of Denmark, who, according to Baldinucci, misled the artist with false promises of employment in his kingdom (Meloni Trkulja S., L'attività tarda di Alessandro Gherardini sulla costa tirrenica e un nuovo acquisto delle Gallerie Fiorentine, in Antichità Viva, XXIV, nn. 1-3, 1995, pp.75-81.).
The painting's mature style further supports this dating. Its distinctively somber tones—inviting comparisons with 17th-century Spanish painting, particularly in the proud and somewhat defiant expression of the saint—align with the later phase of Gherardini’s career. During this period, as Meloni Trkulja notes (op. cit., p. 76), Gherardini “revived sumptuous and gleaming tones in the drapery [...] achieving a Rubensian depth in the corporeality of his figures, which nonetheless lack heaviness thanks to the luminous surfaces emerging from a dense but vibrant shadow.”
From the critical analysis, Dr. Federico Berti
in 45,67x35,24
Private Collection
Baldinucci F., Zibaldone Baldinucciano, 2 voll. Firenze, 1981, II, pp. 503-504
Meloni Trkulja S., L'attività tarda di Alessandro Gherardini sulla costa tirrenica e un nuovo acquisto delle Gallerie Fiorentine, in Antichità Viva, XXIV, nn. 1-3, 1995, pp.75-76-81.
Imperfections and restorations.
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Gherardini Alessandro - Florence 1655, Livorno 1727; was an Italian Baroque painter known for his dynamic and dramatic compositions, characterized by flowing forms, bold use of color, and expressive detail. He was born in Florence and was influenced by the artistic traditions of the Baroque period, particularly the works of Pietro da Cortona and other Italian masters.
Life
Early Life and Training: Gherardini was born in Florence, where he trained under Alessandro Rosi, a prominent painter in the Tuscan Baroque tradition. His early works already reflected a strong understanding of dramatic composition and use of color.
Career: He worked extensively in Florence, Siena, and other parts of Tuscany, producing altarpieces, frescoes, and other ecclesiastical works. His commissions often came from wealthy patrons, including churches and monastic orders, who sought elaborate and visually engaging artworks.
Later Years: Gherardini's later works display a more refined style, with an increased focus on elegance and grace, qualities that aligned with the tastes of the late Baroque era. He remained active until his death in 1726.
Artistic Style
Baroque Dynamism: Gherardini embraced the theatricality of the Baroque, evident in his dramatic lighting, energetic compositions, and emotional intensity.
Color and Movement: His palette often featured rich, warm tones, and he used sweeping, fluid lines to create a sense of movement in his paintings.
Religious Themes: Much of his work centered around religious narratives, including saints, Virgin Mary, and biblical episodes, depicted with grandeur and reverence.
Frescoes: Gherardini excelled in large-scale fresco cycles, showcasing his ability to integrate complex narratives into harmonious designs that often adorned ceilings and walls of churches.