Evocative Saint Sebastian by Luca Giordano: A Key Neapolitan Work

This evocative painting of Saint Sebastian marks a pivotal addition to the burgeoning body of work produced by the young Neapolitan artist Luca Giordano. Notably, it closely parallels another renowned depiction housed at the Schleissheim Palace in Munich, as detailed by art historians O. Ferrari and G. Scavizzi in their comprehensive volume Luca Giordano. L’opera completa (Napoli, 1992, I: p. 267, A115; II: p. 529, fig. 192). The authors attribute this earlier work to approximately circa 1660, drawing comparisons with a similarly themed Deposition located at the esteemed Museo de la Santa Cruz in Toledo. Our gratitude extends to Prof. Giuseppe Scavizzi for his esteemed endorsement of the painting’s attribution to Giordano, as well as to Riccardo Lattuada and Marco Riccòmini, both of whom have independently confirmed this attribution.

The two versions of Saint Sebastian differ only in subtle details. For instance, the soldier depicted in the Schleissheim painting grips a stick or pike, while in Giordano’s rendition he holds a bow, which aligns more accurately with the narrative surrounding the saint’s legendary tale. Notably, both artworks are of identical size. Recently, Scavizzi has elaborated on the concept of Giordano revisiting the same subjects and compositions, potentially employing the same underlying cartoon as evidenced in this instance. An intriguing old photograph cataloged in the Fototeca Zeri (no. 52663) hinted at the existence of a third version that was once part of the collection of Gioacchino Ersoch (1815-1902) in Rome; however, Lattuada has pointed out that this photograph may actually correspond to the previously mentioned Schleissheim painting.

Born in Naples in 1634, Giordano emerged from a family steeped in artistic tradition, as he was the son of the notable painter Antonio Giordano (c.1597-1683), under whose guidance he initially honed his skills. Nonetheless, it was the influence of Jusepe de Ribera (1591-1652) that profoundly shaped his artistic development. Giordano possibly began his career working in Ribera’s studio, where he was inspired to adopt a stylistic preference particularly evident in his early works—characterized by half-length figures of aged men and philosophers, juxtaposed against dark backgrounds, a hallmark of Ribera’s influence. Shortly after 1650, Giordano embarked on an evocative journey to Rome, Florence, and Venice, accompanied by his father. This trip, though brief, proved to be a transformative experience that enriched his artistic vision. Upon returning to Naples the following year, Giordano remained committed to experimentation, drawing inspiration from a diverse array of artistic styles and influences, including those of Caravaggio, Mattia Preti, Rubens, and Guido Reni, all while striving to establish his own distinctive artistic voice. This particular painting can be accurately placed within this dynamic creative period, not only due to its visual similarities to the Schleissheim version but also owing to its striking chiaroscuro effects and loose, expressive brushwork, which preceded his eventual evolution towards a more grandiose and vibrant style reminiscent of the works of Pietro da Cortona.

**Interview with‌ Art Historian Prof. Giuseppe Scavizzi on the Recent Attribution‍ of Luca ‍Giordano’s Painting of ⁢Saint Sebastian**

**Interviewer:** Thank you for joining us today, Professor Scavizzi. We recently learned about ⁤the​ intriguing painting of Saint Sebastian attributed​ to Luca Giordano, dated around⁢ 1650. Can you tell us more ​about this artwork ⁢and its⁢ significance in Giordano’s body of work?

**Prof. Scavizzi:** Thank you for having me. This ‍painting​ is indeed⁢ a significant addition to Giordano’s oeuvre, particularly ⁣as it highlights his early ‍development⁣ as a Neapolitan artist. Giordano’s ⁤ability to convey dramatic narratives and emotional depth is ⁢evident⁣ here, much like in his later works. It’s fascinating to see how he approached⁢ the same subject more than once, which illustrates his creative process.

**Interviewer:** It’s been noted that this painting closely parallels another representation of Saint Sebastian located⁢ at ​the Schleissheim Palace in Munich. How do these two versions differ, ⁢and what does that say‌ about Giordano’s style?

**Prof. Scavizzi:** The⁢ two⁢ paintings share‌ a similar composition and size ​but differ in small⁢ yet⁢ meaningful details. For⁣ example, ⁣the soldier in ‌the Schleissheim painting holds a‌ pike, ⁤while Giordano’s version features a bow. This distinction is not‌ merely ​artistic;‍ it‍ connects to the ‌narrative of Saint‍ Sebastian’s ​martyrdom. Such nuances indicate Giordano’s thoughtful engagement with‌ the subject matter and ⁣his willingness to experiment within similar ⁢frameworks.

**Interviewer:** In⁢ your publication, you discuss Giordano’s tendency to revisit subjects. What does this pattern reveal about his⁣ artistic‌ journey?

**Prof. Scavizzi:** Giordano’s ‌recurring themes ⁤suggest a deeper exploration⁤ of iconography⁤ and technique. By reinterpreting the same subjects, he could refine his⁣ skills and adapt his style to the‍ evolving tastes of his ​patrons. The employment‍ of the same underlying cartoon in multiple works, as indicated in this case, enhances our understanding of⁢ the artistic ‌practices of the time.

**Interviewer:** what was the significance⁤ of the recent confirmations and endorsements from ‌your colleagues regarding the painting’s ⁢attribution to Giordano?

**Prof. Scavizzi:** The ‌independent confirmations from experts like Riccardo Lattuada and Marco Riccòmini bolster ‌our confidence in attributing this work to Giordano. ‌Collaborative research and peer validation are​ crucial in art history, especially when assessing the authenticity of works. It emphasizes the collective effort in unearthing the intricacies of an artist’s legacy and contributes​ to a⁤ holistic understanding of ⁣their impact on the art world.

**Interviewer:** Thank you, Professor ‍Scavizzi, for your insights into‌ Luca⁤ Giordano and this remarkable painting of Saint Sebastian. ⁣It​ has been enlightening!

**Prof. Scavizzi:** My pleasure! Thank⁤ you for the opportunity to‍ discuss this captivating piece of art.