Simone Cantarini

SIMONE CANTARINI (Pesaro, 1612 – Verona, 1648).
“Pair of Puttos.”
Oil on canvas.
Shows signs of restoration.
Comes with a certificate of authenticity by José Gómez Frechina.
Fitted with 17th-century frames.
Measurements: 66 x 88 cm (x2); 79 x 102 cm (frames, x2).
This set of canvases, both featuring a small cherub, offers a tender image inspired by the sleeping cupids of Roman origin, creating a motif rooted in the sweetness and innocence of a sleeping child, while at the same time conveying the transience of time and life. In this specific case, the two scenes present a different composition. One of the angels rests his head on his own shoulder, looking at the viewer, wearing a purple robe and holding a staff. This motif was widely used in depictions of John the Baptist as a child. The other scene shows a monumental child angel turning his face away from the viewer and directing his gaze toward two figures, barely visible in the scene. Although these figures are depicted in a sketchy manner, it can be determined that this scene represents Venus stealing Cupid’s bow. Aesthetically, this is a composition typical of Baroque naturalism, more characteristic of the first half of the 17th century, yet one that persisted throughout the 17th century, primarily in devotional works created by followers of early Baroque masters, such as Simone Cantarini. In fact, this painting displays some of the basic characteristics of Cantarini’s style, such as his deeply naturalistic approach and his mastery of light and color—traits typical of Venetian painters—since a trip to Venice during his youth would shape the development of his work in the future. In this specific case, Cantarini drew inspiration from a model by Guido Reni, the master under whom he trained from 1635 to 1638.He also had the opportunity to experience firsthand the work of Orazio Gentileschi and Giovan Francesco Guerrieri, both of whom possessed the naturalistic style that so interested Cantarini. On the other hand, his contact with Guido Reni influenced, to some extent, a certain classicism evident in his figures, although these are somewhat more realistic or less idealized than those of the Bolognese artist.
There is no documented information about Cantarini’s early training. He may initially have been a student of Giovanni Giacomo Pandolfi. A clergyman from a church in Pesaro who supported Cantarini’s artistic career accompanied the young artist on a trip to Venice. In Venice, he benefited from the guidance of the Venetian Mannerist painter Sante Peranda and learned to draw from Francesco Mingucci, a fellow Pesaro native who was living in Venice. He returned to Pesaro and received his first commissions from the Augustinian order in Pesaro and nearby Fano. His early commissions included the painting *Saint Rita of Cascia*, now in the Church of Saint Augustine in Pesaro, and *The Immaculate Conception with Saints* (Pinacoteca Nazionale di Bologna). It is believed that Cantarini became a pupil of Claudio Ridolfi, although the exact time of his training is unknown. Ridolfi is said to have imparted to him the Venetian style and a strong appreciation for the work of Federico Barocci, Ridolfi’s collaborator in Urbino. After Ridolfi left Pesaro in 1629, Cantarini was left without a teacher and was therefore forced to continue his artistic training on his own. Since he was not taught by a single master in his early years, Simone Cantarini was largely self-taught and absorbed the styles of other painters by making copies or sketches of their works. The engravings of the Carracci brothers, along with the work of Federico Barocci, were important influences on the young artist. He was also inspired by the Caravaggesque art of Orazio Gentileschi, who worked in the Marche region during the 1610s, and by Giovanni Francesco Guerrieri of nearby Fossombrone.