La Zingarella – The Rest on the Flight to Egypt
By Antonio Allegri called CORREGGIO (1489 – 1534)
47,5 x 38 cm
You might ask yourself why Im offering such a beautyful Art here?
I had too often very bad Experience with the Art Market.
There are people who can’t proper communicate,
know nothing about Scientific Research,
don’t like other Opinions or Experts and some well known Art Dealer
wanted to betray me several times.
This is unprofessional and unacceptable.
If you’re interested in my Painting be aware
of this and make your own Opinion.
Be sceptic about Opinions.
Ask AI Tools like https://www.perplexity.ai how often the Art Expert(s) who works for the Art Market were wrong with their Attributions on other old Masters.
Trust in objective Science, not in subjective Peoples Opinions.
I have nothing to hide and want an open communication.
Therefore you can Download a Photo of my Painting to print it in Poster Size for more details, or sent it to those who can make AI Art Recognition:
https://lazingarella.com/download/index.php/s/anPd8GTijGqWqiM
This is a Nextcloud Link of Correggio_La_Zingarella_HiRes.tif (35,8MB).
Feel free to ask me anytime, most times I don’t bite.
The Motiv
La Zingarella, literally The Little Gypsy Girl, is a 47,5 x 38 cm oil on panel painting by Correggio dating to around 1515-1520. It shows the Rest on the Flight into Egypt. The painting got all characteristic details, like Brushstroke & Lightning, a wonderful SFUMATO, smooth color gradients, fine details which fits to Correggio’s style. The surface is smooth and the pigments are very fine.
Description of the Motive
This beautiful and lovely portrait of the Madonna is known as the Zingarella (from her gipsy-like headdress) or as the Madonna del Coniglio (from the little white rabbit at her side). It is a famous picture and a true masterpiece of Correggio. The Madonna is wearing a white robe and her blue mantle has fallen off and lies across her knees. Her headdress makes her look like a gipsy (Zingarella).
Take some time to have a closer look at the painting with its overwhelming atmosphere and fascinating grace).
Feel the moment of Divine peace of the Madonna while taking a rest on her flight to Egypt. See the young woman sitting on the ground among the flowers: Did you notice how protective she is holding the baby? A group of child-angels in the air is holding a palm-branch to shade her and a little white rabbit is watching curiously: Two elements that give the scene an unexpected calmness.
A breathtaking symphony of emotions that only an artist like Correggio could have composed!
Condition and Restauration
It is a Telaro with a fine canvas. The Painting was restored several times. At about 1960 the Painting got a Marouflage because the Canvas is very thin and fragile. Correggio once used a thin Canvas on a Telaro/Wood (Documented by Dr. Manfred Koller).
To prevent the painting from damage the Marouflage was made.
A mackle(Doublierung) could not be made because the canvas is very thin. Because of the Marouflage the Craquele chanced and it made an optical attribution difficult. 2008 it got some light retouch an the old varnish was removed. Important to know: The painting „Noli me tangere“ got a telaro too from Correggio, it is on canvas, transferred from panel.
With these two Photos you see that it is a Telaro with a very thin canvas like the Correggio painting La Sant’Agata di Senigallia:
https://www.cronacheancona.it/2018/03/15/il-correggio-ritrovato-inaugurata-la-mostra-sulla-santagata-di-senigallia/90008
Provenance
My ancestor, a wealthy merchant and consul of the grand Duchy of Oldenburg, bought this Painting between 1840-1860. Since then its in private possession.
SCIENTIFIC RESEARCH
X-RAY
The X-Ray analysis Made with 41 KV and shows there is no other painting under it. You see a net canvas screen and the canvas is thin woven with tiny knots, typical to Correggios time.
The RADIO-CARBON calibration from the CANVAS
The C14 Test of the Canvas was made at the University Erlangen with the result that the Canvas was made in the early 16th. century and fits exactly in the Time of Correggio. The C14 proves that its an work by Correggio, because at this time Correggio had no pupils or any other Artist who could have copied it or got the handwriting like A. Allegri.
Its a confirmation that its not one of the copies from the nearly destroyed painting in Naples.
C14 analysis is of considerable importance for the attribution of paintings, especially in the context of authentication and forgery detection. Here are some key aspects of its importance:
29.10.2024
Why is a C14 of the Canvas s impotent for
objective scientific Research?
Authentication
C14 dating makes it possible to determine the age of the support material (e.g. canvas, wood or paper) of a painting. This is crucial in order to check whether the material corresponds to the presumed date of origin of the work. A material that is incongruent in time may indicate a forgery.
Extended application to pigments
Recent developments have shown that C14 dating can also be applied to certain pigments, extending the possibilities for age determination. This is particularly relevant for paintings containing inorganic pigments, as these have traditionally been difficult to date.
Combination with other methods
C14 dating is often used in combination with other scientific methods of analysis, such as chemical analysis and imaging techniques. This combination enables a more comprehensive analysis and strengthens the validity of the results.
Objective chronological information
By providing objective chronological data, C14 analysis helps to clarify or, if necessary, revise the attribution of a painting. This is particularly important in a market that is increasingly affected by forgeries.
Conclusion
Overall, C14 analysis is an indispensable tool in art research and authentication. Its ability to provide precise age data contributes significantly to detecting forgeries and ensuring the integrity of artworks.
INFRARED REFLECTOGRAPHY
The infrared reflectography was made by the Doerner-Institut.
It shows a lot of PENTIMENTI and, typical for Correggio, SINOPIEN.
These amounts of pentimenti and sinopien you see in the photo would not be made by a copist and proves that its an authentic work by Correggio himself. You see it very clear at the body of the angel,
neck, shoulder, arm, head and hand of Maria, the head of the child, his foot, and at the rabbit. The infrared reflectrography is one of the most important tool for identify a painting and is used for the Triptychon „Christ in Glory” from Correggio which is in the Vatican. This painting was once considered as a copy and Prof. Adani and other Experts revealed that its a work by Correggio. The infrared reflectrography was used at the Salvator Mundi from Da Vinci too.
UPDATE 29.10.2024
How important is infrared reflectography for painting attribution?
Infrared reflectography (IRR) is a crucial technique for painting attribution, providing insights that are not visible to the naked eye. Here are the key aspects of its importance:
Importance of Infrared Reflectography for Painting Attribution
1. Revealing Underlying Drawings
IRR allows art historians and conservators to see underdrawings and sketches made by the artist. This can reveal the artist’s original intentions and changes made during the creative process, which are essential for understanding the work’s development and authenticity.
2. Analyzing Paint Layers
The technique captures how different paint layers interact with infrared light, showing varying degrees of transparency. This helps identify the materials used and can indicate whether the painting techniques align with those typical of the artist or period in question.
3. Detecting Alterations and Restorations
IRR is effective in revealing alterations, pentimenti (changes made by the artist), and restorations that may not be apparent on the surface. This information is vital for assessing the integrity of the artwork and its historical context.
4. Authenticity Verification
By providing evidence of an artist’s specific techniques or materials, IRR can help confirm or refute attributions. For instance, if a painting shows characteristics that are inconsistent with an artist’s known methods, this could suggest it is not an authentic work.
5. Enhancing Market Value
Discoveries made through IRR can significantly impact a painting’s market value. For example, a work initially attributed to a lesser-known artist could be reattributed to a master based on the quality of underdrawings revealed through infrared imaging, leading to a substantial increase in its value.
In summary, infrared reflectography is an invaluable tool in art conservation and attribution, providing critical insights into the creation and history of paintings that help establish their authenticity and significance in the art market.
Scource:
https://howtomakeafake.arts.psu.edu/technical-art-history
https://www.ndt.net/article/wcndt2004/pdf/optical_techniques/740_obrutsky.pdf
https://www.theopenartfair.com/magazine/beneath-the-surface
https://www.art-test.com/en/infrared-reflectography/
https://thecritic.co.uk/issues/november-2019/the-art-of-attribution-and-the-attribution-of-art/
https://artenet.it/en/infrared-reflectography-in-paintings-analysis/
https://www.royalacademy.org.uk/article/giorgione-debate-does-attribution-matter
EXPERTISE
Professor G. Adani, „Presidente del Comitato Scientifico de FONDAZIONE Il Correggio” Membro dell’Accademia Clementina, monografista del Correggio living in Correggio, examined the painting extensively. Prof.Adani is the most skilled scientific experts for CORREGGIO.
Professor Adani is till today the only Correggio Expert who saw the Painting. No other Art Expert saw it and can not make a professional well-founded Attribution.
Expertise of La Zingarella from Correggio by Professor G. Adani:
„Confermo l’expertise di mia mano deI 30 agosto 2011 scritto nel retro della fotografia deI dipinto “La Zingarella”. Il dipinto è ora riportato con la propria tela sopra una tavoletta di legno, con le misure di centimetri 47,5 x 37,5. Si tratta di una creazione di Antonio Allegri, detto il Correggio (1489-1534), realizzata nel secondo decennio deI secolo XVI. Se ne conosce un esemplare, molto famoso ma molto rovinato, custodito nel Museo Nazionale di Capodimonte, a Napoli. Il 30 agosto 2011 ho esaminato direttamente, con grande attenzione, il dipinto in oggetto. Ho esaminato anehe tutti i materiali scientifici che sono inerenti ad esso, quali le accurate riprese fotografiche, la xeroradiografia, la riflettografia a raggi infrarossi, le analisi dei colori. Il dipinto appare completo, nella versione integra quale era nell’esemplare di Napoli prima dei rovinoso restauro dei 1935. Le radiografie rivelano una mano liberae creatrice. Ritengo che vi siano molte probabilita che questo esemplare della “Zingarella” sia un’opera originale dei Correggio. Vedo la mano e le caratteristiche del Correggio nelle seguenti capacità: la accuratezza della esecuzione e la bellezza dei colori; la finitezza squisita di tutti i particolari; la capacità di dare profondita e morbidezza alle ombre; l’uso straordinario dei vegetali; la soffice ed eterea esecuzione degli angeli; la distribuzione dello sfumato, che unifica tutto il dipinto in una dolce atmosfera. Nella visione deI 30 agosto 2011 ho rilevato la presenza di una vernice protettiva che ha iscurito in parte la superficie pittorica. Al momento presente ritengo in conclusione che l’attribuzione al Correggio sia altaente possibile (Correggio).
My Painting is in the latest publication of Prof. Adani from Correggio:
You need to buy this book, I will not give you the fun to read this here :p
https://www.silvanaeditoriale.it/libro/9788836645053
My painting is mentioned at Finestre sull Arte
Correggio’s Nights. The surprising discovery of an Allegrian masterpiece.
https://www.finestresullarte.info/en/works-and-artists/correggio-s-nights-the-surprising-discovery-of-an-allegrian-masterpiece
Finestre sull’Arte is a significant player in the Italian art scene, recognized for its contributions to art communication and education. Here are some key aspects of its importance:
Recognition and Awards
Accolades: Finestre sull’Arte received the Silvia Dell’Orso Prize in 2015 for its excellence in historical-artistic outreach. This award highlights its role in enhancing public understanding of art history
Media Partnerships: The platform has served as a media partner for numerous significant exhibitions, including shows at prominent venues like the Castello Sforzesco in Milan and Palazzo Reale.
This involvement underscores its credibility and influence within the
art community.
Finestre sull’Arte has seen significant readership growth. As of August 2024, it reported nearly 800,000 readers for that month alone. Furthermore, the magazine reaches over 2 million users each month, indicating a robust and expanding audience in the art sector.
Overall, Finestre sull’Arte plays a crucial role in promoting art literacy, engaging diverse audiences, and contributing to the discourse surrounding both historical and contemporary art in Italy. Its commitment to quality content and accessibility ensures that it remains an important resource for
art enthusiasts and professionals alike.
:p
An awakening on Correggio: the Madonna of Casalmaggiore
by Giuseppe Adani, Stefano Macconi, published on 27/02/2024
https://www.finestresullarte.info/en/works-and-artists/an-awakening-on-correggio-the-madonna-of-casalmaggiore
Un risveglio sul Correggio: la Madonna di Casalmaggiore
di Giuseppe Adani, Stefano Macconi, scritto il 27/02/2024
https://www.finestresullarte.info/opere-e-artisti/un-risveglio-sul-correggio-la-madonna-di-casalmaggiore
Il Correggio ritrovato: in Vaticano la scoperta degli studiosi reggiani
7.12.2023 Margherita Grassi
https://www.reggionline.com/correggio-ritrovato-vaticano-la-scoperta-degli-studiosi-reggiani-video
https://www.finestresullarte.info/focus/un-momento-felice-per-il-guercino-tempo-di-mostre-e-riscoperte
Un lontano raggio di Venezia. Il Portale del Palazzo dei Principi in Correggio di Giuseppe Adani , scritto il 04/09/2023
https://www.finestresullarte.info/opere-e-artisti/il-portale-del-palazzo-dei-principi-di-correggio-un-lontano-raggio-di-venezia
https://www.redacon.it/2023/05/05/la-rassegna-primavera-di-parole-in-parrocchia-fa-tappa-a-casina/
La Maddalena, madre dello spargimento della parola di Cristo: il Giorno del Correggio – di Giuseppe Adani , scritto il 16/07/2022, 23:52:52
https://www.finestresullarte.info/opere-e-artisti/maddalena-madre-spargimento-parola-cristo-il-giorno-del-correggio
PROOVE OF REPLICATE
Correggio painted his motives several times which is documented in historic books:
Correggio by Meyer, Julius, 1830-1893
https://archive.org/details/correggio00meyeiala
There is one painting of „La Zingarella” in Naple, but it’s heavily destroyed. It is documented by the Bishop of Milan as he visited Parma in 1625 the collection from the Family Farneseand wrote that this painting is already damaged. The Englishman Richardson confirmed this 1702 and Professor Mengs wrote that it is strongly spoiled.
David Ekserdjian mentioned in his Book that there are other La Zingarella from Correggio:
You can Download my Old Master for personal use here:
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