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Raphael Vanni's workshop (Siena, 1595- 1673), Madonna and Child
XVII Century

$4,166.65

£3,094.33

€3,500

CA$5,727.58

A$6,384.74

CHF 3,360.51

MX$77,400.86

NOK 42,785.64

SEK 39,780.28

DKK 26,645.73

About the Item

Workshop of Raphael Vanni (Siena, 1595- 1673) Madonna and Child, St. John and two angels announcing the crucifixion Oil on canvas, 69 x 94 cm Framed, 85 x 100 cm The painting discussed here constitutes one of several variants of a successful composition devised by the well-known Sienese artist Raphael Vanni. The prototype of the subject, which evidently had a considerable fortune, coinciding with a work that passed into a private collection, allows us to establish at what time the painter conceived this composition. The canvas, in fact, ties in with Vanni's work of the early 1640s: in particular, it shows clear similarities with the St. Helen of Santa Maria in Publicolis in Rome, executed in 1644 for Cardinal Marcello Santacroce. Here the saint has a type so similar to that of the Madonna in the painting under review that we think the painter used the same model. Identical also appears to be the use of color shaping the soft draperies, thus the red robe of St. Helena marked by pasty folds reappears in the Madonna of the work presented here. Not to mention the same nuanced delicacy of milky complexions that accumulates the two works to the Madonna and Child with Seven Seraphim in the Banca Monte dei Paschi di Siena (inv. 2961), another cornerstone of this extraordinary 1644, the year that saw the painter's definitive consecration not only in Siena but also in Rome, where he took an active part in the great undertaking of the fresco decoration of the Palazzo Patrizi. The scene takes place in a domestic setting: the Virgin is embroidering, when the Child draws her attention to two angels who are hoisting the Cross. Our Lady leaves her work and with a melancholy expression tenderly embraces the Child while St. John tries to console him. St. Joseph, watchful in the background, arrives with his donkey probably to flee with the Family to Egypt. The episode, which is a clear premonition of the Passion, is denoted by its pathetic and dramatic accents. The composition is throbbing with both the dynamism of the groups and the overheated poetics of the affects, key components in terms of the development of Baroque taste. This compositional scheme introduced by Vanni, thanks in part to the circulation of engravings, spread throughout the peninsula and was imitated by various artists: crucial in this regard is the version of the painting located at the Neapolitan church of Santa Maria di Chiaia. Raphael Vanni was a painter who worked mainly in his hometown of Siena, straddling the late Mannerism and early Baroque periods, leaving a significant imprint on 17th-century Sienese art. Born in 1595, his artistic training was rooted in an environment still deeply influenced by the great Tuscan Mannerist tradition, but Vanni soon proved sensitive to the new currents that were emerging in Rome and elsewhere. His first steps in the art world probably saw him as a pupil or otherwise close to the workshop of Francesco Vanni, his father and respected Mannerist painter. From him she learned the rudiments of drawing, composition and the use of color, absorbing that grace and elegance typical of Sienese Mannerism. However, Raphael did not simply replicate his father's stylistic features; his desire to update pushed him to a crucial trip to Rome. In the papal capital, Vanni was able to come into contact with the works of the great masters of the early Baroque, particularly those of Pietro da Cortona, whose dynamism, chromatic richness and monumental figures fascinated him deeply. This Roman experience was crucial to his stylistic evolution. On his return to Siena, he brought with him a renewed sensibility, combining the Mannerist refinement inherited from his father with a greater vitality and drama typical of the emerging Baroque taste. His works, scattered in various churches and palaces in and around Siena, bear witness to this stylistic synthesis. Raphael Vanni was a prolific artist, capable of tackling sacred and secular themes with equal skill. His altarpieces are notable for their balanced composition, skillful use of light, and expressive rendering of characters, often characterized by wavy draperies and eloquent gestures. Despite the Roman influence, Vanni always maintained a link with the Sienese tradition, visible in the delicacy of the volutes and in a certain compositional grace that was never completely abandoned in favor of pure Baroque impetus. His career spanned many decades, passing through different stylistic phases reflecting the cultural and artistic changes of the seventeenth century. He died in his native Siena in 1673, leaving behind an artistic legacy that helped define the Sienese painting scene of his time, standing as a transitional figure between two eras and demonstrating the ability to assimilate and reinterpret new trends without ever losing his own identity.

Creation Year:
XVII Century
Dimensions:
Height: 27.17 in (69 cm)Width: 37.01 in (94 cm)
More Editions & Sizes:
cm 69 x 94Price: $4,167
Medium:
Canvas,Oil
Circle Of:
Raffaello Vanni (1587 - 1657, Italian)
Period:
18th Century and Earlier
Condition:
Gallery Location:
Milan, IT
Reference Number:
1stDibs: LU2639216763962

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