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                <text>Ce superbe tableau réapparu sur le marché de l’art en 2007 est venu compléter de façon éloquente le fonds de peintures italiennes du musée. Souvent abordé par les artistes du XVIIe siècle, le sujet évoque un épisode tragique de la vie de la belle et noble Agathe, originaire de Catane, qui se consacra au Christ : refusant de céder aux avances du préfet romain Quintianus et de sacrifier aux idoles, la jeune fille est jetée en prison et suppliciée. Ramenée dans sa cellule, la poitrine mutilée, elle e st visitée par saint Pierre accompagné d’un ange qui lui restitue son intégrité. Le tableau est une parfaite illustration des tendances les plus novatrices à Naples au cours du deuxième tiers du XVIIe siècle : attirance pour le naturalisme de Caravage (1571-1610) – dont Vaccaro fut un copiste zélé – avec les figures à mi-corps, les contrastes de lumière, les détails réalistes (corps musculeux du bourreau à droite) ; réélaboration des modèles du classicisme romano-bolonais à travers la discrète idéalisation des visages et les gestes éloquents. De fait, le doux visage de la sainte, le regard extatique tourné vers le ciel, évoque l’art de Guido Reni (1575-1642) mais également celui de Massimo Stanzione (vers 1585-1656) dans sa phase la plus « rénienne ». Comme la plupart de ses contemporains – notamment Ribera –, Vaccaro se montre aussi sensible aux courants néovénitiens – diffusés par exemple par le Flamand Van Dyck (1599-1641) – qui privilégient une touche moelleuse, exaltant les belles matières tactiles, une palette claire et une coloration précieuse et raffinée</text>
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&#13;
Medium:&#13;
Tempera colors, gold leaf, and ink&#13;
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&#13;
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https://www.getty.edu/art/collection/object/103S6E#full-artwork-details&#13;
&#13;
Ms. Ludwig IX 3 (83.ML.99), fol. 105v</text>
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                <text>The Martyrdom of St Agatha; standing on a raised platform with two men torturing her by the shearing of her breasts, a woman and child crouched in the foreground, God the Father surrounded by putti above&#13;
Pen and brown ink, with brown wash, over black chalk&#13;
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Donated by: Mrs Arthur Nussbaum&#13;
1969&#13;
This item has an uncertain or incomplete provenance for the years 1933-45. The British Museum welcomes information and assistance in the investigation and clarification of the provenance of all works during that era.</text>
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