Santi Di Tito, Portrait of a Lady, 16th Century, Oil on Panel, Framed

Details

Description

Santi di tito (sansepolcro, 1536 - florence, 1603)
half-length portrait of a noblewoman holding a book

16th century

oil on … Read more Santi di tito (sansepolcro, 1536 - florence, 1603)
half-length portrait of a noblewoman holding a book

16th century

oil on panel (75 x 61 cm - framed 115 x 101 x 10 cm)

provenance:
private collection, switzerland
vienna palais dorotheum, november 10, 2020, lot 13 (estimate: €40,000-€60,000)

this high-quality portrait was attributed by carlo falciani (when it was auctioned at dorotheum in 2020) to the painter santi di tito, not only one of the most influential figures on the florentine art scene but also the city's most interesting portraitist of the second half of the 16th century.

the scholar has specifically proposed a date toward the late 1570s, the period coinciding with the florentine painter's most prolific and successful years: santi di tito contributed to the overcoming of late mannerism in favor of a revival of classicist and neo-15th-century realism.

the attribution of this portrait to the painter is immediately evident from the unmistakable oval and firm design of the face, rendered with a complexion of solid pink tones, which retains a sense of light and natural sensitivity in line with the dictates of the counter-reformation, of which the painter was one of the most faithful advocates on the florentine scene.

the firm and volumetric depiction of the dress, finely defined in the small cutouts of the embroidery, yet at the same time typically simplified in the sleeves and bust, is also typical of his style. The luministic notation with which the drawing is highlighted through compact yet thin and transparent layers, and the wide white ruff that lends a sharp light to the entire painting, are also a distinctive signature.

as the scholar suggests, we can compare our painting to the "portrait of guido guardi with his sons" [1], from a private collection, executed between 1564 and 1568 and exhibited at the exhibition il cinquecento a firenze (palazzo strozzi 2017-2018, no. Iv. 5, pp. 156-157); in this, although a male portrait, santi di tito uses the same formal style in the rendering of the faces and ruffs. In this portrait too, the solid volume and powerful figure of the sitter are set against a monochrome background, similar to that of guido guardi with his sons.

santi di tito trained in florence in bronzino's workshop, from whom he acquired a predilection for rounded, luminous volumes, combined with an attention to compositional clarity and the naturalism dictated by the dictates of the counter-reformation. This led him to study the style of scipione pulzone and the zuccari family, whom he met both in florence and during his stay in rome.

over the years, the bronzino influence increasingly shifted toward a softer, more sensitive style of painting, resulting in increasingly natural results, to which our portrait of a woman seems to belong.

judging by the level of commissions, santi di tito became one of the most important florentine portraitists of his time. This position stems precisely from his pictorial skill and interest in naturalism, combined with the mastery of florentine drawing tradition, which placed him as the natural heir, like allori, of the path pioneered by bronzino.

[1] santi di tito (florence 1563-1603) portrait of guido guardi with his sons
1564/68-1570/80, oil on panel, 98.4 x 75 cm. - private collection

additional information:

the painting is sold complete with a beautiful gilded frame and comes with a certificate of authenticity and an iconographic . This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution See less