(?1500–1571)
Madonna and Child with Saints James the Less and Antony Abbot,
oil on paper mounted on canvas strips, laid down on panel, 60.6 x 42.6 cm, framed

Provenance:
sale, Sotheby’s London, 8th April 1981, lot 42

Exhibited:
New York, The Metropolitan Museum of Art, The Age of Correggio and the Carracci. Emilian Painting of the Sixteenth and Seventeenth Centuries, 26 March - 24 May 1987, no. 51, pp. 148-49, ill.;
Princeton, Princeton University Art Museum, The Making of a Masterpiece: Nosadella’s Annunciation, 20th February – 16th May 2010

Literature:
E. Sambo, Tibaldi e Nosadella, in: Paragone 32/379, September 1981, pp. 18-19, fig. 26;
V. Romani, Problemi di Michelangiolismo Padano: Tibaldi e Nosadella, Padua, 1998, pp. 19-20, 89, fig. 2

Little is known about the life of the Bolognese Mannerist painter, Giovanni Francesco Bezzi, called Il Nosadella. According to Malvasia, he was a fresco painter and pupil of Pellegrino Tibaldi. Malvasia also writes that Nosadella’s works are “distinguished by good colour, like his master, and are full of erudition. And if they are not as perfect and studied, they are perhaps more awesome, singular and resoute” (see C. C. Malvasia, Felsina Pittrice – Vite de pittori Bolognesi, ed. by G. Zanotti, Bologna, 1841, I, pp. 160-61). Probably born around 1510, Nosadella was enrolled in the Quattro Arti in 1549, and in 1571, the year of his death, became a member of the Bombasari and Painters’ guild. He seems to have traveled frequently and spent time in Rome. Among the handful of documented works by Nosadella are the Madonna and Child with Saints painted for the Oratorio of Santa Maria della Vita, Bologna, and a Circumcision, executed in 1571 for the church of Santa Maria Maggiore, Bologna (completed by Prospero Fontana), both still in situ (f, see V. Fortunati Pietrantonio, Pittura Bolognese del ‘500, Bologna, 1986, vol. II, pp. 464-65).

Although Nosadella’s and Tibaldi’s works have often been confused, Jürgen Winckelmann has done much to clarify Nosadella’s singular and highly original artistic personality. Nosadella’s style seems to have progressed from a heavy, sculptural mode indebted to Tibaldi’s Michelangism, towards a more refined and normalised classicising idiom around 1560, reflecting the influence of Raphael. Nosadella’s later paintings show his awareness of the Vasarian maniera, while revealing his characteristically greater emphasis on linear, decorative qualities and more complex arrangements of drapery.

Nosadella’s work is rare: none of his frescoes, executed mainly for the Bolognese patriciate, have survived, and fewer than 15 autograph paintings are known. Among these are several now conserved in American museums, such as the Annunciation (Princeton University Art Gallery); the Presentation of Christ (Allen Memorial Art Museum, Oberlin); and the Holy Family with Saints (J. Paul Getty Museum).
The present painting is a relatively recent addition to Nosadella’s œuvre, stylistically comparable to his documented Madonna and Child with Saints in Santa Maria della Vita, Bologna, datable to around 1560. Romani has pointed out that the poses of Saint James are nearly identical in both works, which also show a similar interest in naturalistic detail, such as the small pig laboriously climbing the steps of the throne or the humble attire of the saints in the present picture. It has been noted that this new naturalism is of Raphaelesque or “neo-Renaissance” inspiration, also reflected in both works by their pyramidal compositions, soft, even lighting, effect of sfumato and in the simple, sober decoration of the throne. It appears that the pose of the Christ Child in the present picture is adapted from Raphael’s Madonna di Foligno (Rome, Vatican Museum), while the two pairs of angels in the upper corners are inspired by Polidoro da Caravaggio’s frescoes in San Silvestro al Quirinale, Rome. Nosadella’s Raphaelesque, or neo-Renaissance phase followed that of Tibaldi, who himself had turned from Michelangelesque mannerism to a more refined, classicising idiom at the end of the preceding decade.

The degree of finish seen in the present picture is unusual for a work painted in oil on paper in the 16th century, suggesting it was probably intended for a private collector. The small pig mounting the lowest step of the Virgin’s throne is a traditional symbol of Saint Antony Abbot, as it was one of the animals bred by the Antonine monks during the Middle Ages, and its lard was used as a remedy for the plague known as Saint Antony’s fire. Saint James the Lesser, shown at the left of the composition, holds a long-handled fuller’s staff, an implement used during Medieval times in the finishing of cloth, and with which, according to the Golden Legend, St. James was martyred by being beaten to death.

Technical analysis

IR reflectography shows some significant changes in the gestures of some of the figures: Originally St. James’ head was bent, looking at the ground and not facing towards the Child, whose face was completely turned towards St. Antony Abbot and whose right arm was lower, perhaps touching James’ staff. Antony’s head was probably modified twice, first looking at the other saint, then at the Child, or vice versa.

It was probably modified when the painit surface was not completely dry.
The original support of paper was applied to panel with a thin canvas along the borders. It is possible that the paper was applied to the wood panel at an early stage by the author himself.

The Pigments are typical for the period, and include azurite for the sky, a smalt blue for the Maodnna’s cloak and vermillion in the reds, pinks and flesh tones, lead white and lead-based yellows, ochres and verdigris.

We are grateful to Gianluca Poldi for his technical analysis of the present painting.

Provenance:
sale, Sotheby’s London, 8th April 1981, lot 42

Exhibited:
New York, The Metropolitan Museum of Art, The Age of Correggio and the Carracci. Emilian Painting of the Sixteenth and Seventeenth Centuries, 26 March - 24 May 1987, no. 51, pp. 148-49, ill.;
Princeton, Princeton University Art Museum, The Making of a Masterpiece: Nosadella’s Annunciation, 20th February – 16th May 2010

Literature:
E. Sambo, Tibaldi e Nosadella, in: Paragone 32/379, September 1981, pp. 18-19, fig. 26;
V. Romani, Problemi di Michelangiolismo Padano: Tibaldi e Nosadella, Padua, 1998, pp. 19-20, 89, fig. 2

Little is known about the life of the Bolognese Mannerist painter, Giovanni Francesco Bezzi, called Il Nosadella. According to Malvasia, he was a fresco painter and pupil of Pellegrino Tibaldi. Malvasia also writes that Nosadella’s works are “distinguished by good colour, like his master, and are full of erudition. And if they are not as perfect and studied, they are perhaps more awesome, singular and resoute” (see C. C. Malvasia, Felsina Pittrice – Vite de pittori Bolognesi, ed. by G. Zanotti, Bologna, 1841, I, pp. 160-61). Probably born around 1510, Nosadella was enrolled in the Quattro Arti in 1549, and in 1571, the year of his death, became a member of the Bombasari and Painters’ guild. He seems to have traveled frequently and spent time in Rome. Among the handful of documented works by Nosadella are the Madonna and Child with Saints painted for the Oratorio of Santa Maria della Vita, Bologna, and a Circumcision, executed in 1571 for the church of Santa Maria Maggiore, Bologna (completed by Prospero Fontana), both still in situ (f, see V. Fortunati Pietrantonio, Pittura Bolognese del ‘500, Bologna, 1986, vol. II, pp. 464-65).

Although Nosadella’s and Tibaldi’s works have often been confused, Jürgen Winckelmann has done much to clarify Nosadella’s singular and highly original artistic personality. Nosadella’s style seems to have progressed from a heavy, sculptural mode indebted to Tibaldi’s Michelangism, towards a more refined and normalised classicising idiom around 1560, reflecting the influence of Raphael. Nosadella’s later paintings show his awareness of the Vasarian maniera, while revealing his characteristically greater emphasis on linear, decorative qualities and more complex arrangements of drapery.

Nosadella’s work is rare: none of his frescoes, executed mainly for the Bolognese patriciate, have survived, and fewer than 15 autograph paintings are known. Among these are several now conserved in American museums, such as the Annunciation (Princeton University Art Gallery); the Presentation of Christ (Allen Memorial Art Museum, Oberlin); and the Holy Family with Saints (J. Paul Getty Museum).
The present painting is a relatively recent addition to Nosadella’s œuvre, stylistically comparable to his documented Madonna and Child with Saints in Santa Maria della Vita, Bologna, datable to around 1560. Ithas pointed out that the poses of SaintJames are nearly identical in both works, which also show a similar interest in naturalistic detail, such as the small pig laboriously climbing the steps of the throne or the humble attire of the saints in the present picture. It has been noted that this new naturalism is of Raphaelesque or “neo-Renaissance” inspiration, also reflected in both works by their pyramidal compositions, soft, even lighting, effect of sfumato and in the simple, sober decoration of the throne. It appears that the pose of the Christ Child in the present picture is adapted from Raphael’s Madonna di Foligno (Rome, Vatican Museum), while the two pairs of angels in the upper corners are inspired by Polidoro da Caravaggio’s frescoes in San Silvestro al Quirinale, Rome. Nosadella’s Raphaelesque, or neo-Renaissance phase followed that of Tibaldi, who himself had turned from Michelangelesque mannerism to a more refined, classicising idiom at the end of the preceding decade.

The degree of finish seen in the present picture is unusual for a work painted in oil on paper in the 16th century, suggesting it was probably intended for a private collector. The small pig mounting the lowest step of the Virgin’s throne is a traditional symbol of Saint Antony Abbot, as it was one of the animals bred by the Antonine monks during the Middle Ages, and its lard was used as a remedy for the plague known as Saint Antony’s fire. Saint James the Lesser, shown at the left of the composition, holds a long-handled fuller’s staff, an implement used during Medieval times in the finishing of cloth, and with which, according to the Golden Legend, St. James was martyred by being beaten to death.

Technical analysis

IR reflectography shows some significant changes in the gestures of some of the figures: Originally St. James’ head was bent, looking at the ground and not facing towards the Child, whose face was completely turned towards St. Antony Abbot and whose right arm was lower, perhaps touching James’ staff. Antony’s head was probably modified twice, first looking at the other saint, then at the Child, or vice versa.

It was probably modified when the painit surface was not completely dry.
The original support of paper was applied to panel with a thin canvas along the borders. It is possible that the paper was applied to the wood panel at an early stage by the author himself.

The Pigments are typical for the period, and include azurite for the sky, a smalt blue for the Maodnna’s cloak and vermillion in the reds, pinks and flesh tones, lead white and lead-based yellows, ochres and verdigris.

We are grateful to Gianluca Poldi for his technical analysis of the present painting.