2013
Fermo GhisoniAdonisOil on canvas (relined). 170 x 115 cm.CertificateProf. Dr. Mauro Umberto Lucco,
In Fine Art
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Fermo Ghisoni
Adonis
Öl auf Leinwand (doubliert). 170 x 115 cm.
Gutachten
Prof. Dr. Mauro Umberto Lucco, Bazzano 9.1.2018.
Provenienz
Italienischer Privatbesitz.
Am 20. Oktober 1545 berichtet Kardinal Ercole Gonzaga in einem Schreiben an den Gelehrten Paolo Giovio, dass der Mantuaner Hofkünstler Fermo Ghisoni in Rom weile. Ercole Gonzaga war nicht irgendwer; er war Bischof von Mantua, als Onkel des unmündigen Francesco führte er die Regierungsgeschäfte des Herzogtums Mantua. Bekanntlich zählte der Mantuaner Hof zu den prächtigsten und kunstsinnigsten in Italien, Künstler wie Andrea Mantegna, Giulio Romano, Domenico Fetti und Peter Paul Rubens waren dort als Hofkünstler tätig. Der Brief verdeutlicht, wie zwischen Höfen und Kunstzentren Informationen über Künstler und Kunstwerke ausgetauscht wurden. Er ist in unserem Fall von Interesse, weil er Rückschlüsse auf die Entstehungsgeschichte und die Datierung des vorliegenden Gemäldes erlaubt, den Adonis des Fermo Ghisoni.
Das Gemälde zeigt, fast in Lebensgröße, einen nackten Jüngling, der in elegantem Kontrapost steht und den Betrachter anblickt. Er hält mit der Linken einen Speer, den rechten Arm hat er in die Hüfte gestemmt. Er ist unbekleidet, nur ein dünner Umhang bedeckt den Oberkörper und den linken Unterarm. Der Stoff des Mantels flattert wie von einem sanften Windstoß bewegt und umspielt den auf einen Felsstück aufgestützten Arm. An der Seite des Jünglings sieht man einen Jagdhund, der treu zu ihm emporblickt.
Wir wissen heute nicht mehr, wer der Auftraggeber dieses Gemäldes war. Wir können jedoch davon ausgehen, dass dieser Auftraggeber, wie jeder andere kunstsinnige Betrachter jener Zeit, in dem männlichen Akt unmittelbar die Referenz zu einer berühmten antiken Statue gesehen hat, den Adonis, der sich damals in der Sammlung des päpstlichen Leibarztes Franceso Fusconi befand (vgl. Abb. 1). Die Statue war zuvor in Rom entdeckt worden und galt - auch noch in späteren Jahrhunderten - als eine der schönsten Antiken Roms. Fermo Ghisoni muss sie während seines Romaufenthaltes 1545 in der Sammlung Fusconis gesehen haben. Vergleicht man das vorliegende Gemälde mit der antiken Statue, wird deutlich, dass sich Ghisoni im Wesentlichen an die Vorlage hielt, wobei er die fehlende linke Hand ergänzte und den Kopf des Ebers fortließ. Lucco datiert das Gemälde in das Jahr 1546 und damit kurz nach der Rückkehr des Künstlers aus Rom. Er geht zudem davon aus, dass es sich bei der Darstellung tatsächlich um den schönen jungen Adonis handelt, von dessen tragischem Ende die antike Mythologie erzählt. Dies ist erwähnenswert, denn bereits zu jener Zeit gab es eine gelehrte Debatte, ob die antike Statue Adonis oder Meleager darstelle. Während zunächst Adonis favorisiert wurde (auch vom damaligen Eigentümer), setzte sich später Meleager durch; als Meleager Pighini, benannt nach einem späteren Eigentümer, ist die Statue heute bekannt (vgl. Francis Haskell u. Nicholas Penny: Taste and the Antique. The Lure of Classical Sculpture 1500-1900. London 1981, S. 263-265).
Ein Gemälde, das derart auf eine berühmte antike Statue in Rom rekurriert, muss in Mantua Gefallen gefunden haben, besaß der herzogliche Hof doch eine eigene ansehnliche Antikensammlung. Einer der späteren Mantuaner Herzöge sollte - vergeblich - versuchen, den Meleager Pighini zu erwerben. Die vorliegende Darstellung des Adonis stellt eines der seltenen identifizierten Werke Fermo Ghisonis dar, der zu den Künstlern im Umkreis Giulio Romanos zählte, die an der malerischen Ausstattung des Palazzo del Tè mitwirkten, dem manieristischen Gesamtkunstwerk par excellence.
Abb. 1/Ill. 1: Meleager Pighini, Rom/ Rome, Musei Vaticani © bpk
Fermo Ghisoni
Adonis
Oil on canvas (relined). 170 x 115 cm.
Certificate
Prof. Dr. Mauro Umberto Lucco, Bazzano 09.01.2018.
Provenance
Italian private ownership.
On 20th October 1545, Cardianal Ercole Gonzaga mentioned in a letter to the scholar Paolo Giovio that the Mantuan court painter Fermo Ghisoni was staying in Rome. Ercole Gonzaga was not just anyone; he was the Bishop of Mantua and as uncle of the still underage Francesco he also ran the duchy's government. The court of Mantua was known as one of the most opulent and cultured in all of Italy, attracting artists such as Andrea Mantegna, Giulio Romano, Domenico Fetti and Peter Paul Rubens. The letter demonstrates how information about artists and art works was shared between courts and artistic centres, and in this case it is particularly interesting as it allows us to draw conclusions about the genesis and history of this work, Fermo Ghisoni's Adonis.
The painting depicts a nude youth standing almost life sized in elegant contrapposto and looking out towards the beholder. He holds a spear in his left hand and his right hand is placed upon his hip. He is unclothed save for a thin cloak covering his upper body and left forearm. The fabric of the cloak flutters as if moved by a gentle breeze, playing about the arm which rests upon the stone beside the figure. A hunting dog by the youth's side looks up towards him with a faithful gaze.
We do not know who commissioned this painting. However, we can assume that the work's patron, like any other connoisseur of the time, would have recognised the parallels between this male nude and the famous ancient statue of Adonis then housed in the collection of the Pope's physician Franceso Fusconi. The work was found in Rome and was considered for many centuries to be one of the finest ancient Roman sculptures ever discovered. Fermo Ghisoni must have seen the statue in Fusconi's collection during his stay in Rome in 1545. Comparing this work to the ancient sculpture, one notices that Ghisoni has remained quite close to the model, but has reconstructed the missing left hand and left out the boar's head. Lucco dates the painting to the year 1546, shortly after the artist's return from Rome. He also assumes that the work is intended to depict the beautiful young Adonis, whose tragic end is recorded in ancient myth. This is particularly interesting since at the time this work was painted, scholars were still debating whether the statue depicted Adonis or Meleager. Whilst Adonis was favoured initially (including the work's owner), it was later generally agreed that the work depicted Meleager and it came to be known up until the present day as the Meleager Pighini after its later owner (cf. Francis Haskell & Nicholas Penny: Taste and the Antique. The Lure of Classical Sculpture 1500-1900. London 1981, p. 263-265).
A painting reiterating such a famous Roman sculpture must have found favour in Mantua, since the ducal court was in possession of its own considerable collection of antiquities. One of the later Dukes of Mantua was to attempt without success to acquire the Meleager Pighini for his own collection. This depiction of Adonis is one of just a few rare works able to be securely attributed to Fermo Ghisoni, an artist from the circle of Giulio Romano who also helped with the painted decoration of the Palazzo del Tè, one of the great masterpieces of Mannerism.
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Fermo Ghisoni
Adonis
Öl auf Leinwand (doubliert). 170 x 115 cm.
Gutachten
Prof. Dr. Mauro Umberto Lucco, Bazzano 9.1.2018.
Provenienz
Italienischer Privatbesitz.
Am 20. Oktober 1545 berichtet Kardinal Ercole Gonzaga in einem Schreiben an den Gelehrten Paolo Giovio, dass der Mantuaner Hofkünstler Fermo Ghisoni in Rom weile. Ercole Gonzaga war nicht irgendwer; er war Bischof von Mantua, als Onkel des unmündigen Francesco führte er die Regierungsgeschäfte des Herzogtums Mantua. Bekanntlich zählte der Mantuaner Hof zu den prächtigsten und kunstsinnigsten in Italien, Künstler wie Andrea Mantegna, Giulio Romano, Domenico Fetti und Peter Paul Rubens waren dort als Hofkünstler tätig. Der Brief verdeutlicht, wie zwischen Höfen und Kunstzentren Informationen über Künstler und Kunstwerke ausgetauscht wurden. Er ist in unserem Fall von Interesse, weil er Rückschlüsse auf die Entstehungsgeschichte und die Datierung des vorliegenden Gemäldes erlaubt, den Adonis des Fermo Ghisoni.
Das Gemälde zeigt, fast in Lebensgröße, einen nackten Jüngling, der in elegantem Kontrapost steht und den Betrachter anblickt. Er hält mit der Linken einen Speer, den rechten Arm hat er in die Hüfte gestemmt. Er ist unbekleidet, nur ein dünner Umhang bedeckt den Oberkörper und den linken Unterarm. Der Stoff des Mantels flattert wie von einem sanften Windstoß bewegt und umspielt den auf einen Felsstück aufgestützten Arm. An der Seite des Jünglings sieht man einen Jagdhund, der treu zu ihm emporblickt.
Wir wissen heute nicht mehr, wer der Auftraggeber dieses Gemäldes war. Wir können jedoch davon ausgehen, dass dieser Auftraggeber, wie jeder andere kunstsinnige Betrachter jener Zeit, in dem männlichen Akt unmittelbar die Referenz zu einer berühmten antiken Statue gesehen hat, den Adonis, der sich damals in der Sammlung des päpstlichen Leibarztes Franceso Fusconi befand (vgl. Abb. 1). Die Statue war zuvor in Rom entdeckt worden und galt - auch noch in späteren Jahrhunderten - als eine der schönsten Antiken Roms. Fermo Ghisoni muss sie während seines Romaufenthaltes 1545 in der Sammlung Fusconis gesehen haben. Vergleicht man das vorliegende Gemälde mit der antiken Statue, wird deutlich, dass sich Ghisoni im Wesentlichen an die Vorlage hielt, wobei er die fehlende linke Hand ergänzte und den Kopf des Ebers fortließ. Lucco datiert das Gemälde in das Jahr 1546 und damit kurz nach der Rückkehr des Künstlers aus Rom. Er geht zudem davon aus, dass es sich bei der Darstellung tatsächlich um den schönen jungen Adonis handelt, von dessen tragischem Ende die antike Mythologie erzählt. Dies ist erwähnenswert, denn bereits zu jener Zeit gab es eine gelehrte Debatte, ob die antike Statue Adonis oder Meleager darstelle. Während zunächst Adonis favorisiert wurde (auch vom damaligen Eigentümer), setzte sich später Meleager durch; als Meleager Pighini, benannt nach einem späteren Eigentümer, ist die Statue heute bekannt (vgl. Francis Haskell u. Nicholas Penny: Taste and the Antique. The Lure of Classical Sculpture 1500-1900. London 1981, S. 263-265).
Ein Gemälde, das derart auf eine berühmte antike Statue in Rom rekurriert, muss in Mantua Gefallen gefunden haben, besaß der herzogliche Hof doch eine eigene ansehnliche Antikensammlung. Einer der späteren Mantuaner Herzöge sollte - vergeblich - versuchen, den Meleager Pighini zu erwerben. Die vorliegende Darstellung des Adonis stellt eines der seltenen identifizierten Werke Fermo Ghisonis dar, der zu den Künstlern im Umkreis Giulio Romanos zählte, die an der malerischen Ausstattung des Palazzo del Tè mitwirkten, dem manieristischen Gesamtkunstwerk par excellence.
Abb. 1/Ill. 1: Meleager Pighini, Rom/ Rome, Musei Vaticani © bpk
Fermo Ghisoni
Adonis
Oil on canvas (relined). 170 x 115 cm.
Certificate
Prof. Dr. Mauro Umberto Lucco, Bazzano 09.01.2018.
Provenance
Italian private ownership.
On 20th October 1545, Cardianal Ercole Gonzaga mentioned in a letter to the scholar Paolo Giovio that the Mantuan court painter Fermo Ghisoni was staying in Rome. Ercole Gonzaga was not just anyone; he was the Bishop of Mantua and as uncle of the still underage Francesco he also ran the duchy's government. The court of Mantua was known as one of the most opulent and cultured in all of Italy, attracting artists such as Andrea Mantegna, Giulio Romano, Domenico Fetti and Peter Paul Rubens. The letter demonstrates how information about artists and art works was shared between courts and artistic centres, and in this case it is particularly interesting as it allows us to draw conclusions about the genesis and history of this work, Fermo Ghisoni's Adonis.
The painting depicts a nude youth standing almost life sized in elegant contrapposto and looking out towards the beholder. He holds a spear in his left hand and his right hand is placed upon his hip. He is unclothed save for a thin cloak covering his upper body and left forearm. The fabric of the cloak flutters as if moved by a gentle breeze, playing about the arm which rests upon the stone beside the figure. A hunting dog by the youth's side looks up towards him with a faithful gaze.
We do not know who commissioned this painting. However, we can assume that the work's patron, like any other connoisseur of the time, would have recognised the parallels between this male nude and the famous ancient statue of Adonis then housed in the collection of the Pope's physician Franceso Fusconi. The work was found in Rome and was considered for many centuries to be one of the finest ancient Roman sculptures ever discovered. Fermo Ghisoni must have seen the statue in Fusconi's collection during his stay in Rome in 1545. Comparing this work to the ancient sculpture, one notices that Ghisoni has remained quite close to the model, but has reconstructed the missing left hand and left out the boar's head. Lucco dates the painting to the year 1546, shortly after the artist's return from Rome. He also assumes that the work is intended to depict the beautiful young Adonis, whose tragic end is recorded in ancient myth. This is particularly interesting since at the time this work was painted, scholars were still debating whether the statue depicted Adonis or Meleager. Whilst Adonis was favoured initially (including the work's owner), it was later generally agreed that the work depicted Meleager and it came to be known up until the present day as the Meleager Pighini after its later owner (cf. Francis Haskell & Nicholas Penny: Taste and the Antique. The Lure of Classical Sculpture 1500-1900. London 1981, p. 263-265).
A painting reiterating such a famous Roman sculpture must have found favour in Mantua, since the ducal court was in possession of its own considerable collection of antiquities. One of the later Dukes of Mantua was to attempt without success to acquire the Meleager Pighini for his own collection. This depiction of Adonis is one of just a few rare works able to be securely attributed to Fermo Ghisoni, an artist from the circle of Giulio Romano who also helped with the painted decoration of the Palazzo del Tè, one of the great masterpieces of Mannerism.
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