Mattia Preti 1613–1699

By Leila Allan

Mattia Preti, The Concert, 1630-35, Oil on canvas, 107cm x 145cm, Museo Nacional Thyssen-Bornemisza, Madrid.

Mattia Preti, often known as II Cavalier Calabrese, was a pivotal figure of the Late Baroque period. His innovative merging of different styles from his extensive travels led him to establish his own distinctive form of expression. Born in the small town of Taverna in Calabria on the 24th of February 1613, Preti left Calabria at seventeen to commence a long artistic career spanning over six decades across Rome, Modena, and Naples before ultimately settling Malta for the remaining years of his life.

Preti moved to Rome in 1628 with his elder brother Gregoria who served as his teacher at the start of his career, they both joinied the Accademia di San Luca upon their arrival. When Preti arrived in Rome in the early seventeenth century, the influence of Caravaggio and his followers was still widespread yet gradually waning, at that time there was a clear rise in the popularity of other artists such as Poussin who were affiliated with the Baroque. Preti is accredited with revitalising a diminishing interest in Caravaggio with the dramatic contrasts between light and dark found within his work. Preti responded to the artistic landscape in which he was immersed, drawing inspiration from Caravaggio’s chiaroscuro, the emotional essence of Bolognese artists and the vivid colours of the Venetian artists.

The Concert (1630-35) represents an example of work created near the start of the artist’s career. The earlier works of Preti’s oeuvre often displayed groups of people often engaged in activities such as music or cards. The Concert fits such a description, depicting three figures gathered around a table deeply engaged in their individual activities. The figures are exquisitely dressed, particularly the man to the left with ruffles covering his neck and an elegant feature projecting from his hat. This scene has a sense of theatricality as the man plays the violin while the woman and boy appear to be reading. The background of the scene is dark, while the stark contrasts between light and dark cast deep shadows across the faces of the figures, a highly perceptible reference to Caravaggio.

Preti left Rome and ventured to Naples in the hope of becoming the leading artist of the city after its most eminent, Ribera, had died. Pretti eventually realised this ambition, his name synonymous with Neapolitan art in contemporary thought. While Preti travelled widely around Italy, he is particularly known for his activity in Naples. His time in Naples was shortened when he moved to Velletta, Malta in 1661 upon the request to decorate the Co-Cathedral of Saint John with frescos. The later parts of his career were dominated by churches frescos of religious scenes, a shift from his earlier compositions of musicians completed in Rome. Mattia Pretti died in Malta on the 3rd of January 1699, known for his long and widespread career almost spanning the entirely of the seventeenth century.

Bibliography

Borobia, Mar. “Mattia Preti.” Thyssen-Bornemisza Museo Nacional. https://www.museothyssen.org/en/collection/artists/preti-mattia/concert

“Mattia Preti.” Art UK. https://artuk.org/discover/artists/preti-mattia-16131699

“Mattia Preti.” Robilant + Voena. https://www.robilantvoena.com/artists/48-mattia-preti/

“Mattia Preti, Taverna 1613-1699 Vallentta.” Robilant + Voena. https://www.robilantvoena.com/artists/48-mattia-preti/works/2174/

“Mattia Preti.” The J. Paul Getty Museum. https://www.getty.edu/art/collection/artists/520/mattia-preti-italian-1613-1699/

Yuen, Melissa. “Pilate Washing His Hands: Catalogue Entry.” The Met. https://www.metmuseum.org/art/collection/search/437333