Workshop of Marco Palmezzano, Saint John the Baptist as a Child, 16th Century, Oil Painting on Panel

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Description

Marco palmezzano (forlì, c. 1459 – forlì, 1539) and workshop

saint john the baptist as a child

oil on panel
… Read more Marco palmezzano (forlì, c. 1459 – forlì, 1539) and workshop

saint john the baptist as a child

oil on panel
65 x 48 cm / framed 79 x 62 cm

provenance: hampel munich, june 26, 2025 (attributed to marco palmezzano, estimate €8,000-10,000 - link)

the work depicts the young john the baptist, portrayed in a dynamic, almost dancing pose, his gaze turned upward in an expression of devotion, while holding a thin reed cross in his left hand, his typical iconographic attribute, which prefigures christ's mission.

the work is imbued with an atmosphere charged with religious symbolism, beginning with the small bunches of white and pink roses she holds in both hands: in christian symbolism, the rose is the spiritual flower par excellence, a symbol of divine perfection, of paradise, but also of the blood of christ, prefiguring the passion.

in the foreground, a split pomegranate is placed on the lawn: this fruit, with its red seeds like drops of blood enclosed in a single shell, represents the unity of the church, the passion, and, above all, the hope of the resurrection.

she is not wearing her usual camel skin, but is wrapped in an elegant dark blue cloth with thin gold threads, which ennobles her figure and suggests a noble patron.

the painting, executed in oil on panel, is characterized by the typical perspective style and plastic rendering typical of the romagna renaissance, specifically the "forlì school" between the 15th and 16th centuries.

the work is traditionally attributed to marco palmezzano (forlì, 1460 - 1539), a prominent figure of the late renaissance, active primarily in forlì.

a pupil of melozzo da forlì (and indirectly influenced by piero della francesca), palmezzano, along with his master, were the leading exponents of this pictorial movement. Particularly renowned for his altarpieces, he elegantly combined the solemnity of central italy with the chromatic softness of the venetian renaissance (clearly visible in the work).

after brief training experiences between rome and venice, the master returned to forlì, becoming the artist of choice for the local aristocracy, centered around caterina sforza, the city's ruler, throughout the first three decades of the 16th century.

our work is likely a preparatory element or perhaps a fragment of a larger composition, perhaps a sacred conversation with the madonna enthroned surrounded by saints; this is evident from the large red circular shape above the saint's shoulder, which recalls a cardinal's hat and suggests that the composition was intended to complement a more complex one.

at the bottom right, on the lawn, lies a small folded sheet of paper, an element that renaissance painters, and melozzo in particular, often used to affix their signature or a sacred phrase, although in our case the inscription is illegible.

for example, we can mention two works by palmezzano: the "mystical marriage of saint catherine of alexandria in the presence of the infant saint john the baptist" (image 1 - source fototeca zero: https://catalogo.fondazionezeri.unibo.it/scheda/opera/60258/) and the holy family from the vatican museums (image 2), in which we find two models of complex compositions featuring the infant saint john reaching out toward the virgin, as well as the scroll at the bottom.

the same pose as our infant john can be found in the "immaculate conception with the eternal father in glory and saints anselm, augustine, and stephen" (image 3, detail), created by palmezzano for the abbey of san mercuriale in forlì, specifically in the small angel kneeling before the virgin (image 2).

additional information:

the work is beautifully framed and comes with a certificate of authenticity and a descriptive iconographic sheet. 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