Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 95. (Budapest, 2001)

DOBOS, ZSUZSANNA: Two hitherto unknown paintings by Flaminio Torri

his biography already Zanotti mentions the works Pasinelli painted "sul gusto di Flaminio".

32 The approximately half a dozen paintings this description fits, represent several categories of imitatio. There are some pieces among them, which, on grounds of the astonishing similarity of the brushwork, could even be called "tributes to Torri" (e. g. Sibyl, Bologna, private collection).

33 Others are paraphrases of Torri's compositions (The Virgin Suckling the Infant Christ, Torri: Rome, Galleria Pallavicini, Pasinelli: Devonshire, Chatsworth House).

34 The Judith with the Head ofHolofernes (Greenville, Bob Jones University) urging to raise the question whether "still Torri or already Pasinelli" proves that the two masters' styles nearly overlap at a certain point.

35 It may be some consolation to the experts of Bolognese painting that already the contemporary connoisseurs' and painters' eyes were deceived by these works.

36 The Rebekah at the Well here published belongs to that group of paintings which served as a source of inspiration for Pasinelli, as he painted two paraphrases of it (figs. 81-82). In the version, which has recently got into the Savelli-collection, Bologna, he more faithfully followed the structure and the figures of the prototype (fig. 81). Although the distinguished scholar, Daniele Benati regards this a later version,

37

1 suppose that this is an early work by Pasinelli, executed shortly after Torri's work. As an aside to it, however, we should note that formerly this painting also was in a Budapest private collection.

38 In the other, in my opinion later, composition painted in 1665 on commission for Count Alessandro Fava which also survived in Battista Dotti's etching,

39 Pasinelli transformed both the props and the figures according to his new painterly manner (Bologna, private collection) (fig. 82).

40 We can state that he eased the vulgar, domestic atmosphere of Torri's painting, loosened the structure of the composition and relieved the figures of Torri's robust naturalism. Pasinelli's first version, with its verbatim citations from Torri, seems to endorse the former stylistic arguments outlined for the dating of the picture. Pasinelli must have known Torri's work, so with all probability it was executed during their close collabo32 Zanotti, G. P., Nuovof

regio di gloria a Felsina semprepittrice nella Vita di Lorenzo Pasinellipittor bolognese, Bologna 1703, 23. 33 Reproduced: Baroncini, op. cit. (note 25) 160, fig. II. 34 Reproduced: Baroncini, op. cit. (note 25) 163, fig. III. and Ilia. 35 In the latest literature the painting is included in both masters' oeuvres. See A. M. Ambrosini Massari in Negro -Pirondini op cit. (note 2) 394. and Baroncini, op. cit. (note 25) 188-189. 36 Marcello Oretti, writer, dilettante and collector, surveying the art treasures in Bologna, mentions an Adoration of the Magi attributed to Torri by some and to Pasinelli by others. Oretti, M., Descrizione delle pitture che ornano le case de' cittadini della Città di Bologna, 1770-1776c, Ms B 109. c. 5. (Bologna, Biblioteca Comunale dell'Archiginnasio) 37 Oil, canvas, 126.2 x 171.5 cm. Benati, D., "Scuola di pittura"

. Quadri emiliani dal 500 al 700. Savelli dipinti antichi, Bologna 1995. 38

1 would like to express my thanks to Kornélia Forrai, restorer-artist, who informed me about the provenance of the painting in Hungary. She restored the picture at the beginning of the 1990s in Budapest. It surfaced at the auction of Sotheby's, London (5 July 1995, lot 120). At present it is in a Bolognese private collection. 39 Reproduced: Baroncini, op. cit. (note 25) 201. 40 The source of the illustration: Baroncini, op. cit. (note 25) 201, fig. XIX.