Attributed To Pietro Paolini (ITALY / LUCCA 1603 - 1681) Painting 1603 – 1681), 132cm x 94cmNARCISSUS AT THE SOURCE, an earlywork by Pietro Paolini in the manner of themaster, Carvaggio (Milan, 1571 – 1610),was painted in the period between 1633and 1645, but most likely prior to or verysoon after his return to Lucca in 1641.1Though it is not known who first ownedNARCISSUS AT THE SOURCE, anoverwhelmingly likely candidate is theSardini family, prominent Lucchesi noblesactive in local politics. One of theirdescendants, Conte Giacomo Sardini(1750-1811), later wrote authoritativelyabout Paolini’s paintings and technique,referencing examples from his family’scollection of the artist’s work, which alsoincluded prominent Lucchesi artists suchas Zacchia Il Vecchio, Pompeo Batone andPietro Testa.2Inclusion of the present work in the Sardinicollection is further supported by its lateracquisition by the Chelini family—mostlikely by Lucchesi author and historianAbate Jacopo Chelini (1759 – 1824), acontemporary and close friend of GiacomoSardini,3 who wrote Zibaldone Lucchesi, adefinitive history of the turbulent political events in Lucca between February and July 1800,during which members of the Sardini family played an active and central role.1 Expertise of Didier Bodart, Rome, November 22, 1995 (See Fig.)2 Indici degli Atti e delle Memorie della R. Academia Lucchese, Congrezzo Internazionale di Scienze Storicha tenutoen Roma, 19033 Such was the close personal relationship that Jacopo Chelin was cared for in his final days and died in ConteSardini’s house in 1824.4 Zibaldone Lucchesi by Abate Jacopo Chelini, Archivio di Stato di Lucca, 1800Chelini gifted the original manuscript to Conte Sardini, who in turn donated it to the Archiviod’Lucca, documenting precedence of the practice of gift-exchange between the two friends.5 Itis very likely that this is the means by whichthe Chelini family came into possession ofthe present work from the Sardinis.In 1974, proprietors Guido and LeonardoSimi of L. Simi and Figli, a Lucchesibookbinder and dealers in rare andantiquarian literature, represented ProfessorDora Chelini, the principal of the "IstitutoProfessionale Femminile Matteo Civitali" inLucca,6 in a sale of the present work for thesubstantial sum of L. 1,100,000 lira7 toColonel Giancarlo Manetti of the nobleManetti family of Siena and Florence.8The painting remained in Manetti’s collectionuntil it was acquired by Doctor Maffeis, representing a noble family of Conti Patrizi Marchesi ofBergamo, sometime prior to 1995 when he commissioned the Expertise of Professor DidierBodart who, after careful analysis and research, unequivocally attributed NARCISSUS AT THESOURCE to Pietro Paolini of Lucca.The painting was acquired in 2017 from Barzan Antiques (Cologne, IT) by its current owner, LosAngeles art collector, Ilaria Antoniazzi.THE ARTIST: PIETRO PAOLINIPietro Paolini, called il lucchese (June 3, 1603 – April 12, 1681), was an Italian painter ofthe Baroque period. Working in Rome, Venice and, finally, his native Lucca. Paolini founded anAcademy in his hometown, which formed the next generation of painters of Lucca.9Pietro Paolini was born in Lucca as the youngest son of Tommaso Paolini and Ginevra Raffaelli,a descendant of a prominent lucchese family.10When Paolini was 16 years old, his father sent him to Rome, enrolling him in the workshop ofAngelo Caroselli,11 a follower of Caravaggio who worked in an eclectic style. It was during hisdefining years at Caroselli's workshop that Paolini studied and was influenced by the prominentartists and schools of the period, later reflected in his trademark flexibility and facile mastery ofvarious techniques in his work.5 Indici degli Atti e delle Memorie della R. Academia Lucchese, Congrezzo Internazionale di Scienze Storicha tenutoen Roma, 1903, page 29 "Al Ministro della Pubblica Istruzione"6 Atti parlamentari seduta di Giovedi, 21 Marzo 1974 - presidenza del Presidente Pertini7 After conversion and adjustment for inflation, in excess of $800,000 USD.8 Receipt, L. Simi and Figli, April 13, 1974 (See Fig.)9 Mark MacDonnell, Pietro Paolini, Portrait of a Young Page catalogue at Dorotheum10 Memorie e documenti per servire alla storia di Lucca, Volume VIII, p. 136-14311 Renate Möller. "Caroselli, Angelo." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 28 May2016Fig. 1. Paolini’s THE CONCERTWhereas in the past, the relationship between Caroselli and Paolini was regarded as that of atraditional master and apprentice. It is now known that Caroselli was absent from Rome fromJune 1616 until February 1623, so it would have been impossible for Caroselli to be Paolini'smaster. Recently discovered materials point to a far more complex and possibly personalrelationship, manifested by their aesthetic collaboration and sharing of thematic elements. Inany case, Paolini’s documented presence in Lucca in 1626 for the period June–October furtherlimits the period of their brief but intense interaction.12During his developmental years in Rome, from 1616 through 1629, Paolini was exposed to theinfluence of the second generation of naturalist painters in the Caravaggesque tradition whoseprincipal representative was Bartolomeo Manfredi and also included Cecco delCaravaggio and Bartolomeo Cavarozzi.13From c. 1629-1631, Paolini resided and studied in Venice, where he was likely exposed to theworks of Paolo Veronese and Tintoretto. His subsequent work featured a fundamentalcharacteristic emphasizing muscletone as typical in Mannerist paintingand present in NARCISSUS AT THESOURCE.Paolini plied his trade in the regionfor the next decade, receivingcommissions from the church of SanGiovanni Evangelista in ReggioEmilia, the church of Saints Giovanniand Reparata in Lucca and SaintPaul’s Basilica outside the Romanwalls.14 It was most likely sometimeduring this period that he completedNARCISSUS AT THE SOURCE.Though much of Paolini’s later work centered on prosaic subjects and figures in contemporarysettings, his early paintings often featured mythological figures and tableaus. Notable examplesare many, and would include the prominent and playful inclusion of Cupid into THE CONCERT(c. 1625-1630, J. Paul Getty Museum, Malibu) (See Fig. 1.) and ACHILLES AMONG THEDAUGHTERS OF LYCOMEDES (c. 1620-1630, J. Paul Getty Museum, Malibu) (See Fig. 2.) .Though it is impossible to ascertain the exact date he painted NARCISSUS AT THE SOURCE,it is reasonable to conclude that it was completed early in his career, prior to his return to Luccain 1641. Likewise, Carvaggio’s influence on the young Paolini is clearly evidenced in the deeplymolded chiaroscuro and the signature elements of scarlet fabric, as seen in all three paintings.12 Patrizia Giusti Maccari, Pietro Paolini, Pandora catalogue at Dorotheum13 Pietro Paolini, 1603 Lucca - 1681, zug., Musikantenpaar, catalogue at Hampel Fine Art Auctions Munich14 Expertise of Didier Bodart, Rome, November 22, 1995 (attached)Fig. 2. Paolini’s ACHILLES AMONG THE DAUGHTERS OF LYCOMEDESPaolini’s NARCISSUS AT THE SOURCE was likelyan homage to Carvaggio’s NARCISSUS (See Fig.3). Though the figures, their postures and dress inpaintings are dissimilar, with Carvaggio’s morenatural depiction of a youth in contemporarywardrobe versus Paolini’s classical, semi-nuderepresentation of the subject, both are neverthelessidentical in their thematic condemnation of the folly ofobsessive self-love, as evidenced by their depictionsof the subjects’ faces; pitilessly rendered with vapidexpressions of insipid stupefaction. Thisparticular dichotomy of the real and the ideal,incidentally, is especially characteristic of Paolini'smale portraiture.15NARCISSUS AT THE SOURCE is characteristic ofPaolini’s work from his early days, which oftenreflected direct inspiration from Caravaggio'scompositions, as seen in his THE CONCERT and asecond musically themed painting, BACCHICCONCERT (c. 1625-30, Dallas Museum of Art).Both paintings pay conspicuous homage toCaravaggio's THE MUSICIANS (Collection ofCardinal del Monte).Pietro Paolini returned to Lucca around 1641. By then, his parents had passed away, andthough his mother was of a renowned family, her survivors were not landed or wealthy. Paoliniconsequently became the sole provider of support for his many siblings.16 He quicklyestablished a successful studio, introducing lucchese collectors to the genre of cabinet picturesfeaturing allegorical or musical subjects and still lifes. The work proved popular, and he soonreceived multiple commissions from local religious institutions as well as prominent citizens andnoble families in the city.17 In 1651 Paolini married Maria Forisportam Angela di GirolamoMassei who bore him two sons: Andrea, who became custodian of the Public Archives, andGiovanni Tommaso.18In 1653, Paolini founded the Lucca Academy of Painting and Design, invigorating the artisticatmosphere of 17th century Lucca. The Academy was the vibrant center of lively artisticenvironment in Lucca in the latter half of the 17th century, traning numerous artists of noteincluding Girolamo Scaglia, Simone del Tintore,, Antonio Franchi and Pietro Testa.19Toward the end of his life, Paolini almost entirely abandoned painting to devote the full measureof his efforts into teaching until his death in 1681.2015 Pietro Paolini, A YOUNG LADY HOLDING A COMPASS catalogue at Sotheby's16 Pietro Paolini, THE CARDSHARPS Catalogue at Jean Luc Baroni Ltd17 Pietro Paolini, Pittore caravaggesco a Lucca Catalogue at Finestre sull'Arte18 Elisabetta Giffi, PAOLINI, Pietro at Dizionario Biografico19 Rudolf Wittkower, Art and Architecture in Italy: 1600 to 1750,The Pelican History of Art, New York, Viking,197320 Elisabetta Giffi, PAOLINI, Pietro at Dizionario Biografico. see paperwork. Measures 52 1/2 INCHES HIGH X 37 1/2 INCHES WIDE. TOTAL FRAMED MEASURES 61X48