Prev / Next

Works from Bruno Mantura collection

Tuesday 23 March 2021, 03:00 PM • Rome

27

Mariano Fortuny I Marsal

(Reus 1838 - Roma 1874)

A pouilleux, 1875

Estimate

€ 500 - 800

Un utente ha offerto

La tua offerta è la più alta

Information

etching on china paper, second anti-letter edition
25.1 x 18.8 cm
signed in the upper right plate: Fortuny / Roma

Exhibition

Rome, Prencipe Gallery, 2019.

Literature

Baron Davillier, Fortuny sa vie, son oeuvre, sa correspondance , Paris, 1875, p. 36, pl. f.t .;
P. de Madrazo, Fortuny , "L'Ilustracion Artistica", VII, 1888, 314, p. 5;
R. Vives i Piqué, Fortuny gravador. Estudi crític i catàleg raonat , Reus 1991, pp. 125-128 n. 13;
Mariano Fortuny Marsal, Mariano Fortuny Madrazo. Grabados y dibujos, exhibition catalog edited by R. Vives i Piqué, M.L. Cuenca García, Madrid, Biblioteca Nacional, 1994, pp. 68-69 (with previous bibliography);
F.M. Quílez i Corella, Fortuny gravador, in Fortuny (1838-1874), exh.cat., Barcelona, Museu Nacional d'Art de Catalunya, 17 October 2003 - 18 January 2004 , pp. 324-332, p. 330;
Un coup de coeur. Grafica tra Italia e Francia dalla raccolta di Bruno Mantura, exhibition catalog edited by T. Sacchi Lodispoto, S. Spinazzè, Rome, Galleria Prencipe, 14 February - 16 March 2019, pp. 68-69 no. 17.

Arrived in Rome in 1858 with a pensioner from the Diputació de Barcelona, Mariano Fortuny y Marsal specialized in the Eternal City, before to bond with the merchant Adolphe Goupil and establish himself on the international market with eighteenth-century costume paintings and genre scenes, made with surprising technique and immediately imitated by a host of Italian and Spanish painters, who gave birth to the phenomenon of fortunism. A versatile artist, he demonstrated the same dexterity and skill in etching, practiced occasionally, as in painting. His deep knowledge of the great masters of the past led him to confront himself in this field with Rembrandt and, above all, with Goya, explicitly mentioned in some works. The diffusion of Fortuny's engravings is largely due to Goupil, who in 1869 was selling a portfolio of eight etchings. In 1878, four years after the artist's death, the number of engravings published by the merchant, in various formats, techniques and types of paper, rose to twenty-eight.

Baron Davillier, biographer of Fortuny, traces Tangier, his first engraving, to 1861, followed by Moroccan family. Immediately following, which can be placed in 1862, it should be Un pouilleux, published by the same author in 1875 in Fortuny sa vie with the title Homme nu jusq'à la ceinture. Constant are in the period in which the first engravings are made, the evening sessions at the Academy of Giggi, a basement in via Margutta where with little expense it was possible to participate in study sessions with a naked model and in costume, and excursions in company of his brotherly friend Attilio Simonetti in the taverns of Trastevere in search of the most authentic Roman spirit. A recurring model of these years is Arlecchino, who according to Pedro de Madrazo he should also have posed for this etching or perhaps rather for the watercolor Homme vêtu d'un pagne (Castres, Musée Goya) which may have constituted a prototype for the work in question. Through the rich visual baggage he possesses, Fortuny reinterprets the male nude of academic tradition and contextualizes it within the themes of Roman folklore. Made with a synthetic stroke, the work portrays a semi-nude model in an attitude, which refers to the Jeune pouilleux (Paris, Musée du Louvre), the flea finder, by Murillo and to a wider iconographic tradition which leads to Goya through the bambocchianti and the painters of the Flemish seventeenth century.

At the test of print of the engraving, the first runs made in 1875 immediately after the artist's death followed. The sheet in question in china paper belongs to the second anti-letter edition, made in three versions (china paper, Whatman with filigree crown with lilac flowers 1873 and parchment), followed by the fourth edition of 1878, the fifth of 1916 and the sixth of 1973. The engraving is printed in support of the biography of Fortuny written by Baron Davillier by Charles Amand-Durand (1831 - 1905), famous Parisian engraver pioneer of héliogravure and known for having contributed through his reprints to the diffusion of the work of great masters of the past like Dürer and Rembrandt in the etching revival .

Teresa Sacchi Lodispoto

Contact

artefigurativa.milano@finarte.it, artefigurativa.roma@finarte.it +39 06 87765655 Text us on WhatsApp

Condition report

To request a Condition Report, please contact artefigurativa.milano@finarte.it, artefigurativa.roma@finarte.it The department will provide you with a general report of the condition of the property described above. Please note that what Finarte declares with respect to the state of conservation of the objects corresponds only to a qualified opinion and that we are not professional conservators or restorers. We urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We always suggest prospective buyers to inspect each lot to satisfy themselves as to condition during the exhibition days as indicated in the catalog.

More Lots

Lot of three drawings
29

Johann Jakob Frey

Lot of three drawings

Estimate € 500 - 800

Starting bid € 500

Pair of drawings with landscapes
30

Johann Jakob Frey

Pair of drawings with landscapes

Estimate € 1.000 - 1.500

Starting bid € 1.000

Three drawings of Naples
31

Johann Jakob Frey

Three drawings of Naples

Estimate € 500 - 800

Starting bid € 500

Three drawings of Naples
33

Johann Jakob Frey

Three drawings of Naples

Estimate € 500 - 800

Starting bid € 500

View of Canossa
37

Johann Jakob Frey

View of Canossa

Estimate € 400 - 600

Starting bid € 400

View of Rome from the Tiber
38

Johann Jakob Frey

View of Rome from the Tiber

Estimate € 300 - 400

Starting bid € 300

"Pesto"
39

Johann Jakob Frey

"Pesto", 1839

Estimate € 400 - 600

Starting bid € 400

View more lots