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Judith gets serious

04 Oct

Once again, an artist with multiple identities.   I guess before you were forced to change your name through legal channels, it was as easy to change names as it was to change clothing.   Giovanni Antonio de’ Sacchis, Giovanni Antonio Licinio, Regillo, or De Regillo, Cuticelli, Antonius Portunaensis, or De Portunaonis.   il Pordenone.

Whatever you want to call him, he liked to paint Judith.

il Pordenone was considered second only to Titian in his use of color, especially the skin tones of fleshy women.  In fact, he reminds me of Rubens in that artistry.  But these portraits of Judith are serious.   Sober.  Somber.   As well as sturdy.  And rather stocky.

the first portrait provides an interesting stance:  left hand on hip, right hand holding fachion straight up while resting elbow on severed head.   the deep green of the gown is mesmerizing.

Il Pordenone (Giovanni Antonio de’ Sacchis), “Judith with Head of Holofernes,” 1515-1516, oil on canvas, 87 x72 cm, Collezione Koelliker, Milan, Italy

The second portrait is one I cannot locate or date.  But it was too lovely to leave out.   The model appears to be the same as the previous painting.   Looking over her lovely shoulder at the viewer while placing the head in the bag held open by the maid.   Again, her gown is a deep green in which I could drown.

il Pordenone, “Judith,” c.1515

The third portrait is the most famous of the three, produced 20 years after the first.  A different model, a different dress, a different color.   But still, the fabric is so realistic I can hear it crinkle.   And the sheen of the pink stole is almost glaring.

Il Pordenone (Giovanni Antonio de’ Sacchis), 1539, oil on canvas, 87 x 72 cm, Rijksmuseum, Amsterdam, Netherlands

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Posted by on October 4, 2011 in Cacciatore

 

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