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Early 17th Century Roman School Praying Madonna Painting Oil on Canvas

About the Item

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone (1540 / 2-1584) that the present reveals the greatest assonance. Valeriano attended to the decoration of the Chapel of the Madonna della Strada within the Church of the Gesù, together with the Pulzone, with seven paintings relating to the Stories of the Virgin; the Presentation in the Temple, in particular, offers the same brilliance of clothing that also belongs to the present, of very lucid liquefaction on the outstretched arms of the priest. The gesture of the Virgin, of explicit immediacy, is also equal to that of the agitated Virgin foretold by Marcello Venusti (1512 / 5-1579) of the Rijksmuseum in Amsterdam. It is still up to a work by Scipione Pulzone, the Immaculate Conception for the Church of S. Francesco di Ronciglione (today Museum of Palazzo Doebbing) the interweaving reference, with the painting in question, to the full face of the Madonna. The significant plurality of addresses that occurred in the papal area at the end of the century, encouraged by the need to spread the cultural program of new brotherhoods and religious orders, also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. with the painting in question, for the full face of the Madonna. The significant plurality of addresses that occurred in the papal area at the end of the century, encouraged by the need to spread the cultural program of new brotherhoods and religious orders, also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. with the painting in question, for the full face of the Madonna. The significant plurality of addresses that occurred in the papal area at the end of the century, encouraged by the need to spread the cultural program of new brotherhoods and religious orders, also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. The significant plurality of addresses that occurred in the papal area at the end of the century, encouraged by the need to spread the cultural program of new brotherhoods and religious orders, also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. The significant plurality of addresses that occurred in the papal area at the end of the century, encouraged by the need to spread the cultural program of new brotherhoods and religious orders, also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. encouraged by the need to spread the cultural program of new brotherhoods and religious orders, it also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. encouraged by the need to spread the cultural program of new brotherhoods and religious orders, it also justifies the memory of Federico Barocci (1528-1612), significantly similar to Raffaellino Motta called da Reggio (1550-1578) in colorism. The lively modulations of the chromatic range, here with dominant pink tones, were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. here with their dominant pink tones, they were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna. here with their dominant pink tones, they were in fact sought, first of all, by Barocci, champion of the Counter-Reformation age; for Barocci the famous Madonna of the cherries are mentioned, while for Motta the Tobiolo and the angel (Galleria Borghese, Rome), of noble and immediate brilliance like the present Madonna.

Dimensions:

Height: 37.6 in (95.5 cm)Width: 32.68 in (83 cm)Depth: 1.97 in (5 cm)

Materials and Techniques:

Canvas,Hand-Painted,Oiled,Painted

Place of Origin:

Italy

Period:

Early 17th Century

Date of Manufacture:

Early 17th Century

Condition:

Refinished. Wear consistent with age and use. The painting has been cleaned.