(Above) Saint John the Evangelist, Domenichino (1581–1641). Courtesy the National Gallery
An Italian Baroque masterpiece by Domenichino (1581–1641) is to remain on public display in Britain's National Gallery after an anonymous collector stepped in to buy it.
Saint John the Evangelist (1620s) is said to be one of Domenichino's finest paintings and was export barred by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) only a month ago following its sale in December 2009 at auction for £9,225,250 to an overseas buyer.
With the export licence deferral in place, a new collector came forward wishing to acquire the monumental painting, keeping it in the UK and to make provision for its regular public display.
Measuring 259 x 199 cm, staff at the Gallery believe it is a must-see highlight for visitors to the Italian Baroque rooms.
"Depictions of divine inspiration were a mainstay of Baroque artists, and the heroic pose and focused, serene gaze of Domenichino's figure make it one of the finest interpretations of the classical tradition," explained National Gallery curator Dawson Carr.
"Although Domenichino is well represented in UK public and private collections, none of the paintings can equal the grand scale and conception of this, one of his greatest easel paintings.
"It is undoubtedly the best work by the artist remaining in private hands and its export would have been lamentable for the representation of Italian Baroque painting in this country."
The agreement was made in accordance with the Ridley Rules, which can only be applied after it is clear that no UK institution is able to raise sufficient funds to acquire a work. The Ridley Rules then allow for offers from private individuals, who will guarantee public access to the painting for 100 days within a 12-month period.
In the first phase of this arrangement, the painting will be on display at the National Gallery from 10 May 2010 for a period of 18 months.
National Gallery Director Dr Nicholas Penny hailed the outcome as "a triumph for the National Gallery, but also for enlightened legislation and its efficient administration."
