Sebastiano Conca (1680–1764), Workshop of - Alessandro Magno nel tempio di Gerusalemme

Workshop of Sebastiano Conca
(Gaeta, 1680 – Naples, 1764)
Alexander the Great in the Temple of Jerusalem
Oil on canvas, 53 x 75 cm.
Frame size approx. 65 x 86 x 6 cm.


NOTE: Publication of the collection works catalog of Intermidiart. Guarantee Certificate and Lawful Provenance. Work with a gilded (19th?) frame and black lacquer (Defects):

We present in the auction catalog a magnificent painting, skillfully executed, although it is a faithful copy of the work created in 1736 by the southern painter Sebastiano Conca (Gaeta, 1680 – Naples, 1764), currently housed and displayed at the Museo del Prado (Museo Nacional del Prado) in Madrid, Spain. There are also other versions or models, including preliminary sketches, in private collections or auction houses.
The painting, originating from a notable Sicilian collection, is an example of Roman classicism of Maratta's style, illustrating a historical-legendary episode in which Alexander the Great, during his campaign in the Middle East, visits the Temple of Jerusalem. According to tradition (mainly narrated by the Jewish historian Josephus Flavius), Alexander, instead of destroying the city as feared, showed respect for the Jewish God, recognizing his coming foretold in the Holy Scriptures, and offered sacrifices in the Temple, meeting the High Priest.
The scene is characterized by a balanced composition and diffuse luminosity, typical of the style of Conca and his school, which enhance the glazed tones of the colors and anticipate a taste for polished chromaticism. The painting is part of Conca's body of work featuring historical or secular subjects, often created for high-ranking patrons.
Sebastiano Conca (Gaeta, 1680 – 1764) was one of the leading painters of the late Baroque, also known as 'The Knight' for the title conferred upon him by Pope Clement XI. Coming from a large family, his father Erasmo was a merchant, while his brother Don Nicolò was an archdeacon in Gaeta. Sebastiano began his artistic training at the Neapolitan school of Francesco Solimena, where he studied for over 15 years, and then moved to Rome in 1706, where he worked alongside Carlo Maratta. There, he developed his exuberant style, which was nonetheless tempered under Maratta's influence.
In 1710, he founded the Academy of the Nude, an institution that attracted many European students, including Pompeo Batoni and Olivio Sozzi, and that contributed to the spread of his style. Sebastiano was also a member of the Accademia di San Luca, becoming its director in two separate periods (1729–31 and 1739–41).
In 1731, he was called to Siena to fresco the apse of the Church of the Most Holy Annunciation, a work that earned him admiration for its composition and broad scope. Subsequently, he worked for the Savoy court, creating works in Turin, including pieces for the oratory of San Filippo and the church of Santa Teresa.
In 1739, Conca published 'Ammonimenti', a book of moral and artistic precepts intended for young painters. Starting from 1752, after his return to Naples, his style evolved towards a more grandiose language, influenced by Rococo and the works of Luca Giordano. In 1757, he was elevated to the rank of noble by Charles III of Bourbon, also thanks to the support of Luigi Vanvitelli.
His most significant works, including numerous altarpieces and frescoes, were created across Naples, Sicily, and Turin. Sebastiano Conca was distinguished by his ability to reconcile the theatrical grandeur of Baroque with a more measured composition, continually renewing the artistic language of his time. Among his most notable students is Gaetano Lapis, known as il Carraccetto, while his nephew Tommaso Conca, a Roman, also achieved a certain notoriety. Conca left an indelible mark on 18th-century art, with approximately 1,200 works attributed to him, many of which have been destroyed (cited in Achille della Ragione, 2021).
Regarding its condition, the work presents with a 20th-century-style frame, and the canvas is generally in fairly good condition considering the age of the painting. The painted surface shows a patina, and the overall image reads well under a dirty, yellowed varnish. Visibly, the painting shows signs of wear, with micro-flakes of paint, restorations, and abrasions. Under Wood lamp examination, the fluorescence is intense and uniform, revealing further restorations, but due to this, it is not possible to exclude previous restorations. The painting is lined. The condition report we provide is accurate and meticulous but, in any case, entirely partial and not fully exhaustive, as it was not carried out in specialized laboratories with specific technical supports. In sunlight, a fine craquelure related to the period is visible. The canvas measures 53 x 75 cm. The piece is enhanced by a beautiful gilded and black lacquered frame (possibly 19th century; frame measurements are approximately 65 x 86 x 6 cm, with some defects). The frame shown in the photos above was added to the artwork by the seller or a third party. The frame is provided at no additional cost so that it is ready for display upon arrival. The frame is included as a courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to file a claim or request order cancellation.

Provenance: Private Sicilian Collection

Publication
Unpublished
Myths and the territory in Sicily with its thousand cultures. Unpublished quadreria general catalog of the paintings from the cycle "Myths and the territory," Publisher Lab_04, Marsala, 2025.

The work will be shipped – as it is fragile – in a wooden crate and polystyrene or via a trusted carrier. In the case of sales outside Italian territory, the buyer must wait for the export procedures to be completed.
Due to the holidays, shipments may be delayed in delivery.