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Corrado Giaquinto Art Gallery of Bari verified

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Corrado Giaquinto - Triumph of Joseph
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Antonio Piccinni - Self portrait
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Giuseppe Abbati - Peasant girl in the sun
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Giovanni Bellini - St. Peter martyr
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Giuseppe Amisani - Rirì (Abandonment)
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Ignacio de Leon y Escosura - Love declaration
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Mario Sironi - Mountain
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Vincenzo Irolli - Punished (The Punished Doll)
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Francesco Romano - Flower garden III
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Frans Pourbus - Portrait of a Gentlewoman
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Matthias Stom - St. Peter freed by the Angel
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Jacopo Robusti, detto Tintoretto - San Rocco and the plague victims
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Angelo Cives - The fakir
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Gaetano Martinez - The won
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Nativity scene depicting: Shoemaker's shop
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Creche
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St. Nicholas and stories from his life
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Santa Margherita and stories from her life
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Antonio Vivarini -  Madonna and Child Enthroned between San Benedetto and Santa Scolastica
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Female dress
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Stauroteca (recto)
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Stauroteca (verso)
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Crutch capital decorated with winged Sphinxes
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Albarello decorated with Virile Face
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Raffaele Belliazzi - The rest
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Marianna Elmo - Communion of St. Mary of Egypt
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Corrado Giaquinto - Saint Nicholas saves the castaways
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Marianna Elmo - Penitent Magdalene in ecstasy
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Corrado Giaquinto - Ulysses and Diomedes in the Resus tent
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Plate decorated with the Ecstasy of St. Francis of Assisi
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Institution of the Eucharist
Corrado Giaquinto - Triumph of Joseph
Antonio Piccinni - Self portrait
Giuseppe Abbati - Peasant girl in the sun
Giovanni Bellini - St. Peter martyr
Giuseppe Amisani - Rirì (Abandonment)
Ignacio de Leon y Escosura - Love declaration
Mario Sironi - Mountain
Vincenzo Irolli - Punished (The Punished Doll)
Francesco Romano - Flower garden III
Frans Pourbus - Portrait of a Gentlewoman
Matthias Stom - St. Peter freed by the Angel
Jacopo Robusti, detto Tintoretto - San Rocco and the plague victims
Angelo Cives - The fakir
Gaetano Martinez - The won
Nativity scene depicting: Shoemaker's shop
Creche
St. Nicholas and stories from his life
Santa Margherita and stories from her life
Antonio Vivarini -  Madonna and Child Enthroned between San Benedetto and Santa Scolastica
Female dress
Stauroteca (recto)
Stauroteca (verso)
Crutch capital decorated with winged Sphinxes
Albarello decorated with Virile Face
Raffaele Belliazzi - The rest
Marianna Elmo - Communion of St. Mary of Egypt
Corrado Giaquinto - Saint Nicholas saves the castaways
Marianna Elmo - Penitent Magdalene in ecstasy
Corrado Giaquinto - Ulysses and Diomedes in the Resus tent
Plate decorated with the Ecstasy of St. Francis of Assisi
Institution of the Eucharist

Other works on display

Description

The panel was originally located in the chapel of the same title in the Dominican church of Santa Maria la Nova in Monopoli - an Apulian town on the Adriatic coast, which was administered directly by the Republic of Venice between 1495 and 1530 - from which it was subsequently transferred to the church. of San Domenico, built on the same area starting from 1530. Contrary to what has been reported so far, the patronage of the chapel of San Pietro Martire, which we know is contiguous to that of San Girolamo and Santo Stefano (Single Diocesan Archive of Monopoli, Selva d'oro E. 495) did not belong to the Indelli family - which instead owned the chapel of San Domenico, from which comes the painting by Jacopo Palma the Younger depicting San Domenico with Santa Caterina d'Alessandria, Santa Marta and Santa Maria Maddalena, erroneously indicated as San Domenico Soriano (GLIANES, 1643, p. 48; n. Ed. 1994, p. 80; INDELLI Ms 1779, ch. XIV, 56, ed. 2000, p. 439), now in the Diocesan Museum of Monopoly - but with an unidentified family. In 1870, following the suppression of the convents, Bellini's painting passed into the local Town Hall and from here, in order to ensure its conservation, at the Provincial Museum of Bari, where it is already present around the end of the 1920s, and later in the Pinacoteca. In 1948 the painting was restored by the Central Institute of Restoration in Rome. On this occasion, given the presence of the drawings on the back, partly superimposed on the butterfly brackets that unite the two vertical axes of which the table is formed, it was decided not to reduce the embossing, which was however not very accentuated. Currently, there is a slight longitudinal crack at the junction of the axes and the protective paint is considerably oxidized. The monumental figure of St. Peter the martyr, with a bearded face slightly reclined to the right, stands out against a clear background represented by the laying surface and the parapet behind, both in breccia of Verona (clear allusion to the city of origin of the saint) of a very hot salmon color, and from the deep blue sky on which two registers of soft whitish cirrus seem to pass softly. A midday light, warm and natural, illuminates the scene, highlighting, in a very clever play of chromatic transitions, the rendering of the shadows (that of the figure of the saint projected on the laying surface and that of the black mantle on the white scapular of the Dominican). Particularly realistic is the rendering of the billhook and the dagger fixed in the head and chest of the saint, in which skilful highlights restore the shimmer of the metal, and the splendid reddish leather binding, decorated with relief candelabra and medallions, of the book shown with the right. .

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