Ruggiero Saving Angelica
Ruggiero Saving Angelica
- Artist
- Attributed to Girolamo da Carpi
- Artist Dates
- 1501-1556
- Artist Nationality
- Italian
- Title
- Ruggiero Saving Angelica
- Date
- c. 1530-56
- Medium
- oil on panel
- Dimensions
- 42.9 x 34.3 cm (16-7/8 x 13-1/2 in)
- K Number
- K1202
- Repository
- El Paso Museum of Art
- Accession Number
- 1961.1.23
- Notes
Provenance
(Count Alessandro Contini Bonacossi, [1878-1955], Rome-Florence); sold to Samuel H. Kress [1863-1955] on 1 September 1939 as Girolamo da Carpi ; gift to El Paso Museum of Art in 1961, no. 1961.1.23.
Catalogue Entry
Attributed to Girolamo da Carpi
Ruggiero Saving Angelica
K1202
EI Paso, Tex., El Paso Museum of Art (1961-6/20), since 1961.(1) Wood. 16 7/8 x 13 1/2 in. (42.9 x 34.3 cm.). Good condition except for some restoration in sky. Because of the widespread vogue of Mannerism in the mid-sixteenth century K1202 has been attributed to such a variety of artists as Lelio Orsi (School of Parma), Girolamo da Carpi (Ferrarese School), and Maso da San Friano (Florentine School).(2) Its peculiar brand of the fantastic is hard to classify but would seem most at home in Parma or Ferrara; hence the association with the Ferrarese Girolamo da Carpi, whose style was partly molded by Parmigianino. The distant background in K1202 recalls that in Girolamo's documented Apparition of the Virgin (K1113) and the subject, taken from Ariosto's Orlando Furioso, with its humorous, melodramatic implications, also points toward Ferrara. The episode of Ruggiero's rescue of Angelica is Ariosto's parody on the classical story of Perseus freeing Andromeda. Provenance: Private Collection, Ferrara. Contini Bonacossi, Florence. Kress acquisition, 1939 –exhibited: National Gallery of Art, Washington, D.C. (865), 1945-59, as Lelio Orsi.
References
(1) Catalogue by F. R. Shapley, 1961, no. 20, as Girolamo da Carpi. (2) K1202 has been attributed to Lelio Orsi by B. Berenson and A. Venturi (in ms. opinions), tentatively to Maso da San Friano by F. Antal (in Art Bulletin, vol. xxx, 1948, p. 101 n. 127, deinitely rejecting the attribution to Girolamo da Carpi), and to Girolamo da Carpi by G. Fiocco, F. M. Perkins, W. E. Suida (in ms. opinions), and R. Longhi (tentatively in Officina ferrarese, 1956, pp. 167 f., noting kinship of the painting to work of such Flemish artists as Patinir – very popular in Ferrara – and to the Roman Mannerist paintings, such as the Andromedas of Cavaliere d'Arpino and his circle at the end of the century).