Ferrarese painter of the late sixteenth century, St. Joseph, oil on panel, 135.5X62 cm
Still of the sixteenth century taste, the Saint Joseph in examination shows interesting aesthetic aspects, first of all by observing the pigments and the draping of the drapery, especially the yellow of the garment, thus also the design and the realization of the face, which seen closely expresses delicacies and passages of remarkable quality. Nonetheless, the canvas, bearing a generic attribution to the Emilian school, evokes close affinity of style with the production of Ippolito Scarsella called Scarsellino (Ferrara, 1550 or 1551 – 1620), especially if one observes the profile of the face and the delicate chromatic passages that suggest reasonably the attribution. Scarsellino is undoubtedly one of the most important artists for the early nineteenth-century Emilian art and the most wise critic since the thirties (Maohn and Longhi) saw in him the reference of the young Guercino and Caracci, even if the latter role was diminished from the Volpe and from the Arcangeli. Also important for the collecting fortune of the master, especially in the Anglo-Saxon and American world, were Berenson’s studies, which listed many works in his indexes of 1932, while in Italy the imposing Long Ferrean Workshop Ferrarese was unable to fully disclose its name. he remained an artist for refined palates and it is no coincidence that his works appear in the collections of Longhi himself, Molinari Pradelli and Federico Zeri.