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Bonifazio de Pitati, called Bonifazio Veronese (Verona 1487-1553 Venice)

The Holy Family with the Infant Saint John the Baptist and Saint Mary Magdalene

Details
Bonifazio de Pitati, called Bonifazio Veronese (Verona 1487-1553 Venice)
The Holy Family with the Infant Saint John the Baptist and Saint Mary Magdalene
oil on canvas
39 ¹/₄ x 57 ⁷/₈ in. (99.6 x 147.2 cm.)
Provenance
with J.E. Goedhart, Amsterdam, by 1898.
Dr. Richard von Schnitzler (1855-1938), Cologne, by 1918.
Anonymous sale, Lucerne, Galerie Fischer, 29-30 June 1973, lot 86, where
acquired by the following,
Anonymous sale; Sotheby's, London, 6 December 2018, lot 116.
Literature
E. Lüthgenand and W. Bombe, Die Sammlung, Dr.
Richard von Schnitzler
, Leipzig, 1918, p. 63, fig. 3.
O.H. Förster, Die Sammlung, Dr. Richard von Schnitzler,
Munich, 1931, p. 38, no. 57, pl. XXXII, fig. 57.
Exhibition
Cologne, Kunstverein, Alte Kunstaus Kölner
Privatbesitz: Renaissance und Barock
, November 1929, no. 4.

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展品专文

Bonifazio
Veronese's interest in the Sacra Conversazione was
conceived in the workshop of his great Venetian master, Palma Vecchio
(1480–1528). Palma's influence on Bonifazio's treatment of the genre continued throughout the latter's independent career, and it seems clear that he and his
workshop actively sought to fulfil the demand for such paintings, which had been
generated by both his mentor and Titian (1488–1576). The Madonna and Child
attended by a group of saints was an extremely popular subject, particularly in
Venice, due to the adaptability of the figures represented, which could be
interchanged to suit the requirements of the patron, in a domestic or
ecclesiastical context. The setting of the 'holy communion' also became
flexible. Having largely been situated within church architecture, in
the paintings of artists such as Cima da Conegliano (1459–1517), the sacred
company was transported to the pastoral landscape of the Veneto. Such is the
case here, although the green curtain behind the Madonna provides a sense of
architectural structure and symmetry, a feature common to many of Bonifazio's
works most indebted to Palma.

Bonifazio’s early
compositions reveal the influence of his adopted city's High Renaissance
masters, notably Giovanni Bellini, Giorgione and Titian. From Bellini,
Bonifazio appropriated compositional symmetry and from Giorgione, a quiet,
contemplative tone, both of which became trademarks of his mature style.
Following Palma's death in 1528, his compositions became increasingly complex
and dynamic, offsetting his master's harmonious idiom. Bonifazio's own Venetian
workshop produced many gifted pupils who made their names in the following
generation, including Jacopo Bassano.

The attribution was confirmed at the time of the 2018 sale by Professor Peter Humfrey who dates the picture to
the mid-1530s.