San Genesio
Simone De Magistris (Caldarola, 1538 c. – 1613) o bottega
Simone De Magistris (Caldarola, c. 1538 – 1613)
or workshop
Saint Genesius
Oil on canvas
84 x 62 cm.
Framed: 99 x 76 cm.
In the heart of ancient Rome, amidst the splendour and the persecution of Christians by Emperor Diocletian, unfolds the extraordinary story of Saint Genesio, one of the most fascinating figures in Christianity: a theatre actor who, whilst on the stage of a pagan play, was inspired by God and became a martyr, offering his life for his newly discovered faith.
Patron saint of actors and musicians, his figure remains relevant today, prompting reflection on the redemptive power of faith, capable of converting even those who mock it.
The face of the young saint emerges from the darkness of the background with alabaster-like skin, framed by golden curls, and large, expressive eyes that do not seek out the viewer but are turned upwards, as if entranced by a divine vision in a dreamy expression.
These elements, imbued with a strongly Mannerist style, reflect in every minute detail the pictorial characteristics of the eccentric Simone De Magistris (1538–1613), a painter trained in Venice and Rome, following the examples of Lotto and Federico Zuccari.
Although he is a little-known artist, his style is easily recognisable, combining a visionary, dramatic and highly expressive Mannerism with the Marche tradition, alongside marked Venetian and Tuscan influences. The figure of the saint captivates the viewer through his magnetism, portrayed in a theatrical yet deeply spiritual guise, with an expression charged with pathos – almost caricatural – which we find in several of De Magistris’s works; it is so unusual that it remains etched in the memory (see *Madonna del Rosario*, in particular the face of Saint Catherine of Siena, source: Fototeca Zeri: https://catalogo.fondazionezeri.unibo.it/scheda/opera/33754/ ).
Completing the iconography of the young martyr are his two unmistakable attributes: an antique violin, distinguished by its ankle piece carved in the shape of a lion’s head—a detail of exquisite craftsmanship that evokes the strength of faith and the nobility of sacred art—and the palm frond (a symbol of martyrdom) shaped like a bow.
Even the details of the saint’s robes are a triumph of Mannerist contrasts: he wears a light-coloured tunic decorated on the chest with horizontal golden stripes, over which he wears a piece of metal armour on his shoulder. A band of antique-pink brocade runs diagonally across his torso, wrapping round his chest like a theatrical scarf, before being tied at the waist with a striking golden sash. The vivid, iridescent and vibrant hues of the fabrics – a direct legacy of Lorenzo Lotto’s influence – stand out strikingly against the black background, accentuating the suspended atmosphere of the composition.
ADDITIONAL INFORMATION:
The work is complete with an attractive gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.
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