For some time, David with Goliath’s Head was considered to have come from the circle of painters close to Caravaggio or, even to be the work of Michelangelo Merisi himself. However, a detailed analysis revealed that it did not meet the quality and style of the master of Tenebrist naturalism. However, the work does draw on the success of a motif whose clearly sensual treatment was down to Caravaggio, who was a master in that regard as can be seen in his David and Goliath (circa 1602, Museo del Prado) and David with the Head of Goliath (1609-1610, Borghese Gallery, Rome).

The work in question is in any case Italian, probably from Tuscany and from the first half of the 17^th century. It features the academic finesse typical of the region and has a sensual morbidity close to the art of Francesco Furini (1603-1646), although it lacks his characteristic sfumato.

The relative harshness of the portrayal of the body and facial features could even be due to the lack of skill of a copyist, so the canvas may be a reproduction of an unknown original by Furini. No such original has been located so far, and it should be noted that Furini painted the theme of David and Goliath in a very different style, composition and approach on another canvas with the same title that is owned by the Palazzo degli Alberti de Prato Gallery. Another possibility is that the work was painted by another artist of that time, such as Florence-born Cesare Dandini (1596-1657), whose human figures are largely reminiscent of the one on this canvas.

Commentary updated by Carlos Martín.

Alfonso Pérez Sánchez