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marble models. Nicolas Poussin in addition adopted the theme in his Bacchanal of 1626 at the Galleria Nazionale d’Arte Antica in Rome, and then in 1630, in his Midas and Bacchus in the Munich Alte Pinakothek. Giordano has added the monkey on which a mask is being put and made the scene more animated, the putti climbing on to the animal and passing underneath it.

13 ANDREA

Naples 1635 – 1698

MALINCONICO

Saint Francis of Paula Crossing the Strait of Messina Black chalk, pen and brown ink, brown wash, white highlights 278 x 220 mm (10 15/16 x 8 5/8 in.)

before the performance of the miracle, he hailed them from his boat in order to help them, as can be seen in the background. Few paintings by this artist are known, although he was greatly admired in his own time. Trained under Massimo Stanzione,2 Maliniconico was asked to decorate the San Francesco delle Monache church. He created other works for the Chiesa della Sapienza and also for Santa Maria dei Miracoli, and seems to have evolved under the influence of Luca Giordano although it has not been possible to find out the precise relationship between these two artists of exactly the same generation; what is sure is that his sons, Nicola and Oronzio, both also painters, were students of Giordano. The influence of Fa Presto can be seen in this painting, as in the works at Santa Maria dei Miracoli in Naples, and the Certosa of Capri. But it is also perfectly evident in this sheet; the rapidity of the pen, the freedom of the wash, the figures of the putti are reminiscent of those of drawings by Giordano and his pupils, Giuseppe Simonelli, Nicola Malinconico and Paolo De Matteis. This drawing seems to be the only one known by the artist, and thus constitutes an interesting contribution to the study of Neapolitan drawings, and more specifically those of Giordano’s circle. 1 See Bernardo De Dominici, Vite dei Pittori, Scultori ed Architetti Napoletani, Naples, Tipografia Trani, 1844, vol. III, p. 293 : « Fra i piu bravi allievi, che uscirono dalla numerosa, e fiorita scuola del cavalier Massimo Stanzione, viene annoverato Andrea Malinconico, le di cui opere con istudio, e con amore condotte, furono, e saranno sempre lodate dagli artefici del disegno. » 2 Raffaello Causa, Opere d’arte nel Pio Monte della Misericordia a Napoli, Naples, Di Mauro Editore, 1970, p. 100, no 61.

14

GIOVANNI BATTISTA BEINASCHI

Fossano, 1634/1636 – Naples, 1688

The Adoration of the Golden Calf

This drawing is a compositional study for a painting by Andrea Malinconico conserved at the Pio Monte della Misericordia in Naples, depicting Francis of Paola (1416-1507) crossing the Strait of Messina. The attribution of the painting to Andrea Malinconico is ancient; it was already considered as such in 1905 since an inventory of the museum identifies the painting at that time as a “Saint Benedict saving a friar from the wave” by Andrea Malinconico.1 The Calabrian saint was so popular in the south of Italy and depicted so often that it is surprising that the subject was forgotten. The founder of the order of Minims is easily recognizable, wearing his traditional tunic of black cloth and his wooden clogs. He is holding his staff, the companion of the beggar monk, and defers to God while he is crossing the Strait of Messina, using his coat as a boat. In fact, on 4 April 1464, the boatman Pietro Coloso apparently refused to transport Francis and his travelling companion, Giovanni free of charge to the other side of the strait. Dumbfounded and filled with remorse

Black chalk, pen and brown ink heightened with white on two joined sheets of paper 363 x 582 mm (14 1/4 x 22 7/8 in.)

PROVENANCE Jean-Jacques Semon, Paris Born in Piedmont, initiated by the court painter Esprit Grandjean, Giovanni Battista Beinashi arrives in Rome in 1651 and enters the atelier of the engraver Pietro del Po discovering the works of the Carraccci and other important Bolognese artists. In 1664, he leaves Rome for Naples where he paints fresco decorations of the church of San Nicola alla Dogana. During this period he executes a few fresco cycles and immerses himself into the works of Giovanni Lanfranco, Massimo Stanzione and Andrea Vaccaro. Upon his return to Rome around 1675, he undertakes the allegorical frescoes in the Saint Barnabe chapel at the church of San Carlo al Corso under the supervision of Giacinto Brandi. In 1680, he settles permanently in Naples where he executes one of his masterpieces, the Paradise, for the dome of the church Santi Apostoli.

116 NEAPOLITAN DRAWINGS

VII - Neapolitan Drawings / Dessins Napolitains - Marty de Cambiaire  
VII - Neapolitan Drawings / Dessins Napolitains - Marty de Cambiaire