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Lucifer in the Giudecca | Filippo Bigioli | 1860

Lucifer in the Giudecca | Filippo Bigioli | 1860

€32,95
€32,95
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About the artwork:

In Filippo Bigioli’s Lucifer in the Giudecca the three figures being gnawed by Lucifer are drawn directly from Dante’s Inferno, where Satan is described with three mouths eternally chewing the worst traitors in human history. In Dante’s vision these three sinners are Judas Iscariot, the apostle who betrayed Christ; Brutus, one of the main conspirators in the assassination of Julius Caesar; and Cassius, who also participated in that conspiracy. To Dante the betrayal of Caesar represents the ultimate betrayal of secular order just as Judas represents the ultimate betrayal of divine trust, and these three are placed in the deepest part of Hell, the Giudecca, as the greatest sinners against benefactors. 

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  • Title Lucifer in the Giudecca (Lucifero nella Giudecca) — sketch 17 of the Galleria Dantesca
  • Artist Filippo Bigioli (Italian Neoclassical painter and engraver; San Severino Marche, 4 June 1798 - Rome, 1878)
  • Year of creation c. 1859-1860 (sketch no. 17 of the Galleria Dantesca, a cycle of 27 — now 28 — scenes from Dante's Divine Comedy commissioned to Bigioli in 1854 by Cavaliere Romualdo Gentilucci of Fabriano. The large finished canvases derived from these sketches were painted around 1861 in "finto arazzo" technique with vegetable pigments on raw unprimed canvas, first exhibited at the Palazzo Altieri in Rome and later sent on tour to London. This scene illustrates Canto XXXIV of the Inferno — the last canto of the first cantica — where Dante and Virgil reach the bottom of the Ninth Circle of Hell, the Giudecca, the frozen lake of Cocytus, and encounter Lucifer half-buried in the ice, his three faces eternally chewing the three greatest traitors in history: Judas Iscariot, betrayer of Christ, in the central red mouth; and Brutus and Cassius, conspirators against Julius Caesar, in the side mouths. The 28th sketch was rediscovered by chance in 2022 in the municipal deposit at Palazzo Servanzi Confidati)
  • Technique/Medium Oil on canvas (preparatory sketch / bozzetto)
  • Original dimensions Not publicly documented for the small oil sketch held at San Severino Marche (the related lost finished canvas measured approximately 600 x 400 cm)
  • Collection/Museum Galleria Comunale d'Arte Moderna "Filippo Bigioli", Palazzo Comunale, San Severino Marche, Italy (temporarily relocated to the Pinacoteca civica "P. Tacchi Venturi" since the 2016 Central Italy earthquake)

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