Lot 644: Bottani, Giuseppe 1717 Cremona - 1784 Mantua Die Hl. Anna lehrt die Jungfrau Maria lesen. Lavierte Zeichnung, weiß gehöht über schwarzem Stift auf Papier auf Leinwand gezogen. 29 x 23,5cm. Provenienz: Mainzer Privatsammlung. Gutachten: Eine

Bottani, Giuseppe
1717 Cremona - 1784 Mantua

Saint Anne Teaches the Virgin Mary to read. Indian ink drawing, highlighted in white over black pencil on paper laid on canvas. 29 x 23.5cm.

Provenance:
Private collection, Mainz.

Certification:
The original copy of an expert opinion from Prof. Dr. Steffi Röttgen, Kunsthistorisches Institut Florenz from 15.12.2012 is available.

"... Bottani (is) today, thanks to the well-illustrated monograph of the Tellini Chiara Perini (Milan 2000), considered a prominent figure of the Roman academicism of the 2nd half of the 18th century. With its careful ... and pictorial design this sheet is isolated amoung Bottanis' graphic oeuvre. ...
The subject of the drawing is Mary being guided through a lesson on the Old Testament,
an issue that according to the Counter-Reformation in the Latin countries, was largely popular. The frequently encountered subject, must be seen in conjunction to the Immaculata- Cult (Mâle, p 351), in Roman paintings of the late 17th and 18th Century (for example Pigler 1974, I, pp. 417-418). The attitude and the drapery of the figure of Anna, who is here seen gazing at the sky, is very close to the motif of Anna in the altarpiece of the Church of St. Andrea delle Fratte, which Bottani painted in 1758 for the altar of St. Anna. In the drawing ... on the other hand, Mary in profile is given a sheet of paper. The motif is a direct reference to the figure of a young girl's back, which is part of the central group of an altarpiece of 1745 in Bottani and to the "Farewell to the Holy Saint. Paola Romana in Ostia before their trip, the country represented". The young girl in this case is the daughter of St. Paola, her mother's hand sending off a farewell kiss. The fact that the sheet has two for Bottani very characteristic figurative motifs together, is in my opinion a clear testimony to his authorship. Bottanis oeuvre is rich with examples of reusing figurative motifs in different thematic allegations. In the present case the aim of this compilation seems to be a potentially semifigurative devotion. This is supported in addition to the format, especially by the contemplative expression of St. Anna, which is reminiscent of a Conceptio Immaculata, an Assumption or a Mater Dolorosa, i.e. themes that have played an important role in Bottanis work (see Tellini Perina, cat Nos. 3, 4, 17) ... "

The newly discovered work of the artist was presented at a conference in Florence by Prof. Dr. Röttgen. We would like to thank her for her kind support.