Francesco Fernandi (Italian, 1679-1740). Reading Madonna drawing. Red chalk on paper.

Item Details

15x12in

Red chalk on paper.

Excellent condition. Framed.

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Accompanied by a certificate of authenticity issued by Sebastian Deya Gallery

Inscribed: front, brown ink, bottom left, F. Imperiali pinx…; bottom right, R. Rol..(?). Back, brown ink, top left, Roma, Gune(?) 1742 / F. Impeririali ping…;[illegible] R. deline..(?). Probably inscribed after deceased.

The Virgin Mary has been the subject of various representations throughout the history of Western art. She was an important character in outstanding scenes of sacred history, from the Annunciation of the birth of her son Jesus to different moments of her passion and death. Later she appears together with the apostles in the coming of the Holy Spirit and is the protagonist of apparitions and miraculous events that Catholics represented in cloisters and churches, showing the importance that her figure had in the religious development and practice of Christians. Starting in the 17th century, with the renewal of the imagery that the counter-reformation undertook, her figure will continue to be outstanding, many times in representations that show her alone and pensive, possibly meditating on the role that she had to fulfil, as mentioned by the evangelist Luke (2:16-21); calm, reading a book of hours, alone and isolated, generated a devotional image of frequent representation. It is in this way that it appears in our work, concentrated, in its prayer book. Attributed to Francesco Fernandi, L'Imperiali, based on the inscriptions on the recto and verso, the work copies a painting that was attributed to Carlo Maratta (1625 - 1713) of which we know at least one version that has been considered by a follower (National Trust Collection, inv. 872096, oil on canvas, 43.2 x 34.3 cm). Due to its realization, our drawing confronts us with the work of a skilled artist who knows the medium he uses, with whom he achieves an image of remarkable delicacy that immediately refers to Maratta's creations. Trained in Milan with Carlo Vimercati, after his arrival in Rome around 1705, he was protected by Cardinal Giuseppe Renato Imperiali whose name he will add to his. He came into contact with Carlo Maratta's workshop and participated in various projects together with disciples and followers.