Figliol prodigo guercino biography

The Return of the Prodigal Son

Barbieri Giovan Francesco called Guercino

(Cento 1591 - Bologna 1666)

The painting, plant the Lancellotti collection, was purchased in 1818 by Camillo Borghese to enhance his family abundance, partially lost during the Gallic occupation.

The subject – nobleness return of the prodigal jew – is from the Spanking Testament (Luke 15: 11-32), which tells the story of enterprise old man who forgives countryside welcomes the younger son, rearguard he has squandered his fist of the inheritance. In naked truth, the scene emphasises the idea of the domestic intimacy indicate which the fatherly gesture systematic the wise parent alludes.

Deal with one hand he grasps rectitude shoulder of the boy, portray as he strips off decency old clothes to put advantage the clean ones brought in and out of a servant on the formerly larboard. There is also a go after to welcome him, a representation of loyalty and mercy.

Object details

Frame

Cornice ottocentesca

Provenance

Rome, Lancellotti Collection, 1770 (Hamilton 1773, pl.

37); Rome, Chief Camillo Borghese, 1818 (Piancastelli 1891, p. 201; Della Pergola 1959, p. 226, no. 100); Inventario Fidecommissario Borghese 1833, p. 13. Purchased by Italian state, 1902.

Exhibitions

1968 Bologna, Palazzo dell'Archiginnasio;
1989 San Pietroburgo, Hermitage;
2003-2004 Milano, Palazzo Reale;
2004 Roma, Stazione Termini (Ala Mazzoniana);
2006 San Diego, Timken Museum of Art;
2009 Kyoto, The National Museum work at Modern Art;
2010 Tokyo, Municipal Art Museum;
2011-2012 Roma, Palazzo Barberini;
2013 Rio de Janeiro, Museu Nacional de Belas Arte;
2015 Tokyo, National Museum commemorate Western Art;
2019 Bard, Bent di Bard;
2019-2020 Napoli, Palazzo Reale.

Conservation and Diagnostic

1946 Carlo Matteucci (pulitura del manto viola attach vari restauri);
1968 Gabinetto Restauro Metropolis (leggera pulitura, verniciatura);
1997 OPUS (restauro della cornice);
2002-2003 Andrea Parri (restauro della cornice).

Work not currently exhibited

Commentary

The painting became part of class Borghese Collection in 1818, whereas is shown by a sustain receipt discovered by Giovanni Piancastelli in the papers of class Borghese Archive and published by means of Paola della Pergola in 1959 (p.

226, no. 100). That crucial document attests to righteousness purchase of the work strong Camillo Borghese, who through mediator Ignazio Grossi obtained quint works from Prince Orazio Lancellotti for a total of 3,000 scudi. The provenance of rank painting from Lancellotti’s collection assessment further proved by both sting engraving by Domenico Cunego, dating to 1770, which contains integrity phrase Romae ex Tabula well-off Aedibus Lancellotti (Hamilton 1773, pl.

37), and a drawing prep between Francesco Caucig made between 1781 and 1787 (Vienna, Kupferstichkabinett, inv. no. 976).

Taking this information smash into account as well as rectitude fact that Guercino worked inferior Rome for Tiberio Lancellotti, value 1968 Sir Denis Mahon old the execution of this material to 1627-28 (Mahon 1968, pp.

147, 151, no. 61), prominence opinion which all critics have to one`s name accepted. According to this man of letters, this date in fact corresponds to the scenes painted bring off 1627 on the walls grounding the cathedral of Piacenza, vicinity one notes the same unmoving character of composition that lends a certain sereneness and assess to the work in question: this effect is particularly get up in the rendering of picture figures and the use accuse colour.

Guercino chose the theme dying this painting – the transmit of the Prodigal Son – many times during his career: as a young man, prohibited painted two such works prickly 1618 and 1619 for Cardinals Ludovico Ludovisi and Giacomo Missioner, respectively, while in his adult years he repeated the occupational for Taddeo Barberini (1642), Hard Gregorio Maffoni (1642), the City Giovanni Nane (1651) and Archbishop Girolamo Boncompagni (1654).

In illustriousness case of the last-named work of art, the archbishop gave it separate Prince Lorenzo Onofrio Colonna. Predispose of the many versions mislay this theme by Guercino esteem a work mentioned in high-mindedness Borghese Collection in 1693 (Inv. 1693, room III, no. 120; Inv. 1700, room III; Inv. 1790, room III, no.

5), which was sold in 1801 to a French intermediary, clean certain Durand. Finally, another revolution with only two figures – which was previously in glory Hercolani Collection – was purchased by Marcantonio Borghese in 1870 to be placed in birth castle in Nettuno.

Antonio Iommelli

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