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16TH Century Italian Old Master Drawing by Giuseppe Cesari Il Cavalier D’arpino (Italian, 1568-1640) Entitled Moses

GIUSEPPE CESARI, CALLED IL CAVALIER D’ARPINO (ITALIAN, 1568-1640). Matted Drawing using Red chalk on watermarked laid paper; Entitled Moses (ITALIAN OLD MASTER, 16TH CENTURY). Upper right signed and inscribed; lower right collectors mark of Modesto Ignazio Bonaventura Luigi Genevosio (Turin, 1719-1795) (L545); The drawing is a study by D’Arpino of the figure of Moses to be painted by Cavalier D’Arpino in the Ascension of Christ Fresco located in the Oligiati Chapel, Santa Prassede, Rome. The Painting was completed by Arpino in 1595.

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  • GIUSEPPE CESARI, CALLED IL CAVALIER D’ARPINO (ITALIAN, 1568-1640). Matted Drawing using Red chalk on watermarked laid paper; Entitled Moses (ITALIAN OLD MASTER, 16TH CENTURY).  Upper right signed and inscribed; lower right also signed in black.   A prominent collectors mark of Commendatore Genevosio (Modesto Ignazio Bonaventura Luigi Genevosio) (Turin, 1719-1795) (L545) is on the lower right of the drawing.  The drawing is a study by D’Arpino of the figure of Moses to be painted by Cavalier D’Arpino in the Ascension of Christ Fresco located in the Oligiati Chapel, Santa Prassede, Rome.  The Painting was completed by Arpino in 1595.  Drawing is Professionally framed under archival glass.

    Giuseppe Cesari

    Giuseppe Cesari (February 1568 – 3 July 1640) was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d’Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter’s arrival in Rome.

    Cesari’s father, Muzio Cesari, had been a native of Arpino, but Giuseppe himself was born in Rome. Here, he was apprenticed to Niccolò Pomarancio. Cesari is stigmatized by Lanzi, as not less the corrupter of taste in painting than Marino was in poetry. (Lanzi disdained the style of post-Michelangelo Mannerism as a time of decline).

    Cesari’s first major work done in his twenties was the painting of the right counterfacade of San Lorenzo in Damaso, completed from 1588 to 1589. On 28 June 1589, he receives the commission for the murals of the choir vault in the Certosa di San Martino in Naples. From 1591 he is again in Rome, where he painted the vault in the Contarelli Chapel within the church of San Luigi dei Francesi. He also completed murals in the Cappella Olgiati in Santa Prassede (1592), and the vault of the Sacristy in the Certosa di San Martino.

    Cesari is known to do numerous chalk studies in preparation of his paintings.  For example, there are several chalk studies of the Moses figure, above left, in his mural of the Ascension of Christ.

    Other chalk studies included:

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    Giuseppe Cesari DP809049 FireShot Capture 50 - Christie's Zoom Image_ - http___www.christies.com_lotfinder_ZoomImage.aspx
    FireShot Capture 49 - Christie's Zoom Image_ - http___www.christies.com_lotfinder_ZoomImage.aspx DP809040 DP809050

    He was said to be “a man of touchy and irascible character, and rose from penury to the height of opulence.” His brother Bernardino Cesari assisted in many of his works. Cesari became a member of the Accademia di San Luca in 1585. In 1607, he was briefly jailed by the new papal administration. He died in 1640, at the age of seventy-two, or perhaps of eighty, at Rome.

    His direct followers were his sons Muzio (1619–1676) and Bernardino (d. 1703). Pier Francesco Mola (1612–66) apprenticed in his studio. Other pupils include Francesco Allegrini da Gubbio, Guido Ubaldo Abatini, Vincenzo Manenti, and Bernardino Parasole.

    His most notable pupil was Caravaggio. In c. 1593-94, Caravaggio held a job at Cesari’s studio as a painter of flowers and fruit.

    Two of Cesari’s acclaimed paintings is the Passion of Christ, located in the church of San Biagioe Carlo ai Catinari, Rome, and Christ Taken Prisoner, located Piazza del Campidoglio,

    References

    Langdon, Helen (2000). Caravaggio: A Life. Westview Press. ISBN 9780813337944.

    Röttgen, Herwarth (1964). “Giuseppe Cesari, die Contarelli-Kapelle und Caravaggio”. Zeitschrift für Kunstgeschichte (in German) 27 (3/4): 201–227. Retrieved 15 November 2013.

    Hobbes, James R. (1849). Picture collector’s manual; Dictionary of Painters. T. & W. Boone, 29 Bond Street, London; Digitized by Googlebooks (2006) from Oxford library. p. 49.

    Bibliography

    Gash, J. (1996). Caravaggio, in Turner, J. (ed). The Dictionary of Art. London: Macmillan

    Hobbes, James R. (1849). Picture collector’s manual; Dictionary of Painters. T. & W. Boone, 29 Bond Street, London; Digitized by Googlebooks (2006) from Oxford library. p. 49.

    Wikisource-logo.svg Chisholm, Hugh, ed. (1911). “Cesari, Giuseppe”. Encyclopædia Britannica (11th ed.). Cambridge University Press.

  • Weight

    1lb.

    Height

    20.75"

    Width

    16.5"

    Depth

    .1"

    Weight

    1lb.

    Height

    20.75"

    Width

    16.5"

    Depth

    .1"

    Artist / Maker

    GIUSEPPE CESARI, CALLED IL CAVALIER D’ARPINO

    Date

    17th Century

    Medium

    Chalk

    Origin

    Italy

    Other

    Matted

    Subject

    Figurative, Religious

    Support

    Laid Paper

    Title

    Moses

    Kind

    Drawings, Religious Objects and Relics