Feast in the house of Simon, Bernardo Strozzi

Feast in the house of Simon, Bernardo Strozzi
Feast in the house of Simon, Bernardo Strozzi - 1

  • Posted by: Bernardo Strozzi
  • Museum: Academy Gallery
  • Year: Around 1630

Overview of the painting :

The feast in the house of Simon is Bernardo Strozzi. Around 1630. Oil on canvas, 272×740
   Bernardo Strozzi (1581-1644) was known to contemporaries by the nickname Kappuccino, as well as to Prete Genovese (The Priest of Genoa). He really was a monk of the Capuchin Order in Genoa, but in 1610 he left the walls of the monastery to look after his sick mother and more intensively engage in his favorite painting. In 1630, after her death, Strozzi did not want to return to his recluse life, for which he was imprisoned. Having gone free, he went to live in Venice, and the last period of his life is extremely fruitful. However, researchers tend to consider this large-scale canvas as a “genez” work.

   Evangelist Luke narrates, what, when Christ was invited to the house of Simon Farisei (Pharisees are members of the Jewish sect) a certain woman brought an alabaster vessel with myrrh (he is in the picture – at the feet of Christ) began to wash Jesus’ feet with tears “and wipe her head with her hair, and kissed His feet, and anointed with the world. ” (Luke 7: 36-38). Those present were indignant at the behavior of the sinner, but the Savior said to them: “Her sins are forgiven for many because she loved a lot; but to whom little is forgiven, he loves little. ”. And he said, turning to the woman: “Your faith has saved you; go in peace ”(Luke 7: 47-50).

   Paolo Veronese created one of his masterpieces on this plot, and Strozzi is clearly delighted with it: he “freaks” the architectural motive of the picture with the Treonesian. Nevertheless, the “absolute”, neutral background of the central part of the canvas already reveals the taste of time for the caravadzhistic optical environment, which allows the cut-off contrast to emboss human figures, emphasize psychological reactions and make tangible still lifes. The canvas was written for the reception of the monastery of Santa Maria in Passioneon shortly before arriving in Venice.