Lot 70: Miguel Alcañiz Documenté de 1407-1408 à 1447 à Valence, Barcelone et Majorque Le martyre de sainte Catherine d''Alexandrie Peinture à..

Artcurial

November 14, 2016
Paris, France

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Description: Miguel Alcañiz Documenté de 1407-1408 à 1447 à Valence, Barcelone et Majorque
Le martyre de sainte Catherine d''Alexandrie
Peinture à l''œuf et fond d''or sur panneau de bois tendre rectangulaire

The martyrdom of Saint Catherine of Alexandria, tempera on panel, by M. Alcaniz

h: 44,50 w: 34,50 cm

Provenance : Collection particulière, Vicence

Bibliographie : Roberto Longhi, ''Fatti di Masolino e di Masaccio'', in ''La critica d''arte'', 1939-40, p. 183, n°20 (republié dans ''Fatti di Masolino e di Masaccio de altri studi sul Quattrocento'', 1975, p. 51, n° 20)
Roberto Longhi, "Un''aggiunta al Maestro del Bambino vispo (Miguel Alcaniz ?)", in ''Paragone'', 185, 1965, p. 149-150

Commentaire : Cette œuvre fragmentaire a dû appartenir initialement à un retable consacré à sainte Catherine dont, à notre connaissance, les autres éléments sont encore inconnus. Son auteur s''inscrit dans le courant du style Gothique international tel qu''il apparaît à Valence à la fin du XIVe et au début du XVe siècle. A cette époque, la ville, important foyer artistique, accueille des artistes d''origine étrangère tels Marçal de Sax (ou Sas), Pere Nicolau et Gherardo Starnina (ex Maître du Bambino Vispo) respectivement venus du Nord, de Catalogne ou de Florence marquant de leur influence les artistes locaux. C''est à l''un de ces derniers, Miguel Alcañiz, qu''il faut rendre la paternité de ce tableau, inédit jusqu''ici, dont l''attribution a été proposée par G. Romano et R. Chiappati (communication aux actuels propriétaires).
La composition reprend à la lettre le récit du martyre de la sainte princesse relaté par Jacques de Voragine dans La Légende Dorée tout en exacerbant avec véhémence le ton anecdotique, que ce soit dans la description du miracle de la roue qui éclate, dans l''attitude de la sainte échappant au supplice, dans la fuite du personnage à gauche ou dans la frayeur de l''assistant dont le turban voile le regard. La ligne fluctuante des draperies, le coloris raffiné sont bien dans la lignée du Gothique international, les expressions de tristesse affligée des assistants sont influencées par le côté réaliste du Nord et les recherches d''une perspective balbutiante des roues ou du pavement montrent l''intérêt de l''artiste pour les avancées du style florentin.
Dans la chronologie des œuvres de Miguel Alcañiz telle qu''elle a été étudiée par M. Hériard Dubreuil (cf. " Un nouveau primitif espagnol " in L''œil, janvier-février 1978, p. 53-59, 94-95), il faut replacer l''exécution de notre tableau entre le Retable de la Sainte Croix (Valence, Museo de Bellas Artes) placé vers 1410 - où l''influence florentine d''Agnolo Gaddi importée par Starnina se fait sentir- et celui dédié à saint Michel daté de 1421 (Lyon, musée des Beaux-Arts). Parmi les détails significatifs communs à notre panneau et au Retable de la Sainte Croix citons entre autres : le modelé simplifié par ombre et lumière du torse de la sainte et celui du bon larron du retable valencien ; le profil aigu de son visage et celui de la sainte Madeleine au pied de la croix ; le dessin des grandes mains aux doigts raides, les lignes fluides et tourmentées des drapés, le coloris subtil. Une date vers 1415 semble valable.



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