Christ and the Tempter by an anonymous 17th-century Italian artist

The episode in the life of Jesus referred to here is that of the temptation of Christ in the wilderness. After being baptised by John, Jesus went into the wilderness and remained there for forty days. The episode is recounted in the Synoptic Gospels. The Devil then appears and presents him with three challenges: to turn stones into bread to satisfy his hunger, to throw himself from the pinnacle of the Temple to test whether God would protect him, and to bow down before him to gain universal kingship. Jesus rejects each proposal. This triple temptation has been interpreted in various ways over the centuries, as the enigmatic episode raises questions about Jesus’ dual nature—divine and human—and his freedom and responsibility in the face of temptation. As for the figurative representation of the devil, it has taken many forms in art, by turns slyly angelic and monstrous and terrifying.

The painting housed at Aulteribe Castle depicts the first temptation offered by the Devil to Christ, following in the footsteps of Titian, who also chose this episode from the life of Christ for a work now held at the Minneapolis Institute of Art. The reference to Titian’s work is all the more pertinent given that its pared-back composition, as well as the direction of Christ’s gaze, are reflected in the Aulteribe painting. However, depictions of this theme remain rare in the^17th century, apart from in the work by Domenico Fetti (Christie’s auction, London, 8 July 1988).

The painting has been attributed by Jean Christophe Baudequin to Giacinto Brandi (1621–1691), a^17th-centuryItalian painter active in Rome and Naples. Although little known today, Brandi was nevertheless regarded in his own time as a master on a par with Pier Francesco Mola, Giro Ferri and Carlo Maratta. His style was influenced by Caravaggio, whose theatrical use of light he adopted to highlight the characters’ emotions. In Aulteribe’s painting, the composition remains classical, a far cry from the Baroque figurative innovations found in *Christ in the Garden of Gethsemane*, held in the Vatican Pinacoteca, where two angels emerging from the background lift Christ and infuse the classical pyramidal structure with dynamism. The naturalistic treatment of the figures is reminiscent of the Bolognese school, in the tradition of the Carracci. Despite the quality of the work, none of the many specialists consulted has been able to identify the artist who painted this picture.

The static nature of the two protagonists’ poses might cast doubt on the attribution to Brandi. However, one must take into account the specific nature of the subject, which requires the painter to make a clear compositional choice from the outset. He must convey the emotions experienced by Christ through his posture and facial expression, and distinguish them from the temptations faced by the saints (Jerome, Anthony or Benedict), who are tasked with depicting the physical reality of temptation: anguish, struggle or flight, the flattery of the senses or the horror of his visions, through the creatures sent or possessed by Satan.

The theme of Christ’s temptation thus does not lend itself to baroque contortions, since Jesus is charged with embodying steadfastness in his choice, rather than anguish. In the painting housed at the Château d’Aulteribe, contrasting pictorial characteristics are at work, straddling the Baroque and Classicism. The composition is classical and static, yet the scene is bathed in a dramatic, Baroque chiaroscuro. Whilst the solemnity of Christ’s pose demonstrates his steadfastness in the face of temptation, the four hands form a sinuous line that injects dynamism into the composition. These elements, together with the realistic treatment of the figures of Christ and the tempter, place the work in the first half of^{the 17th} century.

The movement of Christ’s eyes, together with his hand outstretched towards the viewer, effectively brings to life the narrative of Satan’s proposal. The figure of the devil is particularly interesting: an old man with two small horns, in keeping with popular iconography. His human appearance, however, is traditional. This serves to signify that the devil is merely a mirror in which humanity’s darkest impulses are reflected.

The Temptation of Christ, attributed to Brandi, Giacinto (1623–1691), RETIF database. Source of attribution: Baudequin, Jean-Christophe)