Abstract
Vincenzo Catena (1) is a somewhat indefinite artistic personality because, though we have quite a number of signed works from his hand and the appearance of his productions at a certain given moment offers us no difficulty, we have been unable to ascertain the date of his birth; nor do we possess any authentic dated works, with the exception of the altar-piece in the church of Sta. Maria Mater Domini in Venice, which at one time is supposed to have shown the date 1520. Of the few documents we have concerning him, the earliest is a will which he drafted in 1515; he drew up two others in 1518, one in 1530 and again one in 1531. He died in September 1531 and was buried in the church of SS. Giovanni e Paolo. His name appears as witness in 1522 and 1528; on the latter occasion it was at the wedding of the sister of Sebastiano del Piombo. It is now certain that Vincenzo Catena should not be identified, as was previously thought, with Vincenzo dalle Destre of Treviso (2). The father of Catena was called Biagio.
The erratum of this chapter is available at http://dx.doi.org/10.1007/978-94-015-2815-3_14
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Reference
B. Berenson, Un dipinto del C. a Carpi, Rassegna d’Arte, V, 1905, p. 158. The Same, Venetian Painting in America, (1916), p. 243.
G. Bernardini,Ancora di V. C. o V. dalle Destre, Rassegna d’Arte, XII, 1912, p. III.
T. Borenius, A Portrait by C., Burlington Magazine, XXIX, 1916, p. 225.
C. H. Collins Baker, C. at Trafalgar Square, Burlington Magazine, XLII, 1923, p. 239.
R. E. Fry, On a picture attributed to Giorgione, Burlington Magazine, XVI, 1909–10, p. 6.
G. Gronau, C. O. Vincenzo dalle Destre, Rassegna d’Arte, XI, 1911, p. 95.
D. von Hadeln, A proposito di un dipinto nella R. Pinacoteca di Brera attribuito a Marco Basaiti, Rassegna d’Arte, VIII, 1908, p. 218.
The Same, Die Werke V. C.’s, Monatsh. f. Kunstwiss., 12, 1908, p. l080.
G. Ludwig,op. cit., Jahrb. der K. Preus. Kunstsamml., XXII, p. 69; XXVI, Beiheft, p. 79.
Milanesi,notes on Vasari, III, p. 643.
G. Biscaro Atti dell’ Ateneo Veneto, 1897, p. 270.
Berenson,Venetian Painting in America, p. 244.
Ffoulks, L’Arte, XIV, 1911, p. 167.
A. Venturi, L’Arte, III, 1900, p. 208. G. von Terey, Die Gemälde Galerie des Museums für bildende Kunst in Budapest, Berlin, 1916, p. 95.
Venturi,op. cit. Von Terey, op. cit.
Collins Baker,op. cit.
The attribution to Catena has been contested by Collins Baker„ op. cit.
Berenson, Venetian Painting in America, p. 248, fig. 102.
Venturi,op. cit.
T. Gerevich,A Krakoi Czartoryski Képtdr Olasz Mesterei, Budapest, 1g18, p. 16o, attributes it to Rocco Marconi.
Reprod. in Gerevich,op. cit., p. 186. In the old catalogue it is reprod. as a work by Gentile Bellini. I. N. Muxel,Gemälde Samml. in München etc. des Herzogs von Lhtenberg, Munich, 1841, pl. 77.
Gerevich,op. cit., p. 187.
No. 55 of the catalogue of the sale of this collection, New York, January 1927.
Gerevich,op. cit., pl. 22.Photo.
Collins Baker, Burlington Magazine, LII, 1928, p. 93. For the bibliography v. (K. W. Jähning), Der Staatliche Gemälde Galerie zu Dresden, I, Berlin, no date, p. 32.
Collins Baker,loc. cit.
Collins Baker, loc cit., publishes it as by Catena with a point of interrogation.
Sansovino,ed. 1581, p. 75a,stated that the picture was painted by “Angelo C.P.”(?). Stringa,in his edition of Sansovino,1604, p. 164b, gives the date 152o. Ridolfi,p. 82, miscalls the saint St. Febronia. Zanetti,p. 79. Moschini,II, p. 137.
The lake and the castle — really a tower — are further allusions to Fig. 22I. Catena, St. Christine. Sta. Maria Mater Domini, Venice. Von Hadeln, op. cit., Rassegna d’Arte, 1908.
Berenson,Venetian Painting in America, p. 251, “perhaps as late as 1517” but I think it is even still later. L. Venturi,Pitture italiane in America, pI. 314.
A. L. Mayer, Pantheon, I, 1928, p. 108.
L. Venturi, op cit., pl. 315.
Berenson, Dedalo, VI, 1926, p. 655
Reprod. in A. Venturi,Storia dell’ arte ital., VII 4, fig. 357.
Berenson,op. cit., p. 254, fig. 203.
V. vol. XVII, p. 341 note i. Sansovino, op. cit., p. 47 verso, Ridolfi, op cit, I p. 71, Moschini, op. cit., I p. 550.
Frizzoni,Le Gallerie etc. in Bergamo, p. 91.
H. Cook, L’Arte, V, 1902, p. 114.
Reprod. as a production of the school of Giorgione in U. Monoret de Villard,Giorgione, Bergamo, 1914, p. 92; and as by Giorgione himself in L. Justi,Giorgione, 2nd ed., I, 1926, p. 86, pl. 24.
Nor indeed has the picture of the same subject in the Crespi Morbio collection, Milan. C. Gamba,Dedalo, IV, 1924, p. 543. An old copy of the painting in the Quirini Stampalia Gallery is found in the gallery of Dresden.
This drawing was published as by Catena in Hand-Zeichnungen alter Meister der Albertina etc., V, No. 534 and by Berenson,Dedalo, IV1
No. 16978; attributed to Catena by G. Bernardini,Bollettino d’Arte del Minist. della Pubbl. Istr., IV, p. 149.
pittore ragionevole chi molto piu si adoper6 in fare ritratti di naturale the in alcune altro sorte di pitture“.
Fece ancora molti ritratti tenuti in pregio per la bellezza loro“.
Bottari, Lettere, I, p. 574.
Rights and permissions
Copyright information
© 1936 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Van Marle, R. (1936). Vincenzo Catena. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2815-3_5
Download citation
DOI: https://doi.org/10.1007/978-94-015-2815-3_5
Publisher Name: Springer, Dordrecht
Print ISBN: 978-94-015-1674-7
Online ISBN: 978-94-015-2815-3
eBook Packages: Springer Book Archive