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Attributed to after Caravaggio, Michelangelo Merisi da (Italian painter, 1571-1610) , St John the Baptist

Core Record

Title St John the Baptist
Collection Culture and Sport Glasgow (Museums): Kelvingrove Museum
Artist Attributed to after Caravaggio, Michelangelo Merisi da (Italian painter, 1571-1610)
Date Earliest possibly 1630
Date Latest possibly 1700
Description In Caravaggio's original composition Isaac laughing , (97.0 x 132.0 cm, oil on canvas, Pinacoteca Capitolina, Rome) the youth is naked and smiling, the lamb is a ram and the reed cross is omitted, attributes that identify the Glasgow painting as a representation of St John the Baptist.
Current Accession Number 140
Subject religion (St John); figure; animal (lamb)
Measurements 115.4 x 85.9 cm cm (estimate)
Material oil on canvas
Acquisition Details Bequeathed by Archibald McLellan 1855.
Publications Catalogue (Illustrated) of the Old Masters Dutch, Flemish, Italian 1500-1700, Introduction by T.C.F. Bratchie, Corporation of Glasgow, Art Galleries and Museums, Kelvingrove, Glasgow, 1922, p. 132 as by School of Caravaggio; Catalogue Descriptive and Historical of the Pictures in the Glasgow Art Galleries and Museums, Introduction by James Eggleton,Glasgow, 1935, p. 51 as by School of Caravaggio; Moir, A., Caravaggio and his Copyists , New York, 1976, p. 87 (no.16g), pp. 125-6, repr. fig. 62 as a variant copy; Catalogue of Italian Paintings with which is included a small group of Spanish Pictures, Illustrations, Introduction by George Buchanan, Art Gallery and Museum, Glasgow, 1970, p. 40, repr. b/w as by After Michelangelo de Caravaggio; Rudolph, C. and Steven F. Ostrow, S.F., ‘Isaac Laughing: Caravaggio, non-traditional imagery and traditional identification', Art History, vol. 24, no. 5, November 2001, pl. 32, pp. 673-674;
Notes Moir (1976) connects the Glasgow painting with a drawing in the Oppe collection (London), which is tentatively attributed to Matthias Stom or Stomer (c. 1600- after 1650 ), an artist probably from the Southern Netherlands and strongly influenced by Caravaggio. From the 1630s Stom was active in Italy, first in Rome then in Naples and Sicily where he had ample opportunities to study Carravaggio's work. Although the youth in Stom's drawing is naked, the drapery, landscape background, the lamb with its peculiarly positioned legs, and reed cross all correspond with the Glasgow painting. For a definite attribution to Stom however, further research is needed.
Rights Owner Culture and Sport Glasgow (Museums)
Author Dr Erma Hermens



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