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Crucifixion wit…
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GASPARE TRAVERSI (Naples, 1722 - Rome, 1770)
Crucifixion wit…
See original version (Italian)
Lot no. 18
Description
GASPARE TRAVERSI
(Naples, 1722 - Rome, 1770)
Crucifixion with the Virgin Mary, Mary Magdalene and St. John
Signed and dated lower left: Gaspar Traversi P. 1748
Oil on canvas, 188X141.5 cm
Provenance:
Rome, private collection
Bibliography:
I. Faldi, Current and Forthcoming Exhibitions Century: Rococo to Romanticism, in The Burlington Magazine, CXIII, 1971, p. 571, fig. 103
F. Bologna, Gaspare Traversi nell'illuminismo europeo, Naples 1980, pp. 41-42, fig. 1
P. Rosenberg, Tre note napoletane, in Arti e civiltà del Settecento a Napoli, edited by C. de Seta, Roma-Bari, 1982, p. 92, n. 5
F. Bologna, Traversi, Gaspare, in Enciclopedia Europea, XI, Milan 1981(1985), p. 280, n. 8
N. Spinosa, Pittura napoletana del Settecento dal Rococò al Classicismo, Naples 1987, p. 96, fig. 98
F. Barocelli, Gaspare Traversi Neapolitanus Pinxit Romae (1723-1770). Ipotesi, questioni, proposte su di un pittore e la sua opera, Parma 1990, p. 93, fig. S1
F. Barocelli, Gaspare Traversi, in Po. Quaderni di Cultura padana, edited by the Cassa di Risparmio di Parma e Piacenza, II, 1994, pp. 55 ff.
R. Lattuada, Dipinti della collezione D'Errico, Naples 1999, p. 113, fig. 5
F. Barocelli, in Gaspare Traversi, napoletani del '700 tra miseria e nobiltà, exhibition catalogue edited by N. Spinosa, Naples 2003, p. 72-73 n. 1
N. Spinosa, A. Scarpa, Repertorio, in Gaspare Traversi. Napoletani del '700 tra miseria e nobiltà. Exhibition catalogue edited by N. Spinosa, Naples 2003, pp. 220; 250
M. Causa Picone, Lezione di disegno: Gaspare Traversi e la cultura europea del Settecento, Naples 2011, p. 38
R. R. Terrone, Gaspare Traversi professor of painting, Galatina 2012, pp. 60-61
G. Forgione, Gaspare Traversi, Soncino 2014, p. 163, n. A1, table 1
G. Forgione, Gaspare Traversi, Dizionario Biografico degli Italiani, 2019, vol. 96
The painting is not only Gaspare Traversi's first signed and dated work, but also the earliest in his catalogue. The style still reveals effective Solimenesque memories and a cultured reinterpretation of early Neapolitan naturalism, perceptible, as Gianluca Forgione points out, in the hieratic fixity of Christ, inferred from the examples of Sellitto and Battistello. Nonetheless, the composition reveals a classicist perception of Roman and especially Marattesque origin that is combined with Simon Vouet's modulated Caravaggesque sensibility. Having said this, if the whole reveals an inevitable acerbity, the young author reveals an open culture and the determination to update his Neapolitan lexicon, allowing him, in the space of a few years, to reveal himself as one of the most important and singular personalities on the European figurative scene.
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