Carlo SARACENI (1579-1620, Italian)

Saraceni, Andromeda.jpg

Carlo SARACENI (1579-1620, Italian)

Andromeda and Perseus

oil on canvas

39 x 29 inches

Price: Sold

Carlo Saraceni’s date of birth, 1579, can be deduced from his own documented statement of 1616 in which he stated that he was thirty-seven. Saraceni reached Rome at the turn of the century (around 1598) where, according to his biographer Baglione, he became the pupil of the sculptor Camillo Mariani from Vicenza. Presumably, the young Venetian's interests were divided among the international yet still Mannerist style of the Cavaliere d'Arpino, the elegant Raphaelesque classicism of Emilian painters such as Albani, and the modern and atmospheric landscape painting of Elsheimer. All this was prior to the development of Saraceni's celebrated interest in Caravaggio. Primarily occupied with public commissions, he painted numerous altarpieces in and around Rome. He grew increasingly interested in Caravaggio's art, painting larger figures, subtle light effects, and momentary actions. Elsheimer's influence remained equally strong: Saraceni continued creating Elsheimer-inspired poetic landscape backgrounds. These landscapes, in turn, inspired painters Pieter Lastman and Claude Lorrain. When Elsheimer and Caravaggio died in 1610, Saraceni seems to have inherited their market. In 1613 Saraceni was in Mantua, where he worked for the ducal court, but he returned to Venice about 1619 and died there in the following year.  

This painting depicts the moment when Perseus is approaching the enchained Andromeda on his return from having slain the Gorgon Medusa. The way in which the painting is composed provides the viewer with a privileged perspective: we are presented with Andromeda, the sea monster and Perseus. Andromeda’s view of her gallant rescuer is obscured by the rock to which she is chained which adds a dramatic tension and psychological complexity to this painting as she is unaware of the immanent change of her fate. We see her sitting awaiting her sacrifice stoically resigned, but perhaps with a tinge of hope as she looks on to the monster that she believes is about to take her life.