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Workshop of Scipione Pulzone (Gaeta 1550 - Rome 1598)
Pietà Cherubs Paint Oil on canvas Religious Rome 16/17th Century Michelangelo

1550-1620

$10,657.07
$13,321.3420% Off
£7,856.14
£9,820.1720% Off
€8,944
€11,18020% Off
CA$14,590.57
CA$18,238.2120% Off
A$16,182.02
A$20,227.5220% Off
CHF 8,498
CHF 10,622.5020% Off
MX$198,726.69
MX$248,408.3620% Off
NOK 107,576.64
NOK 134,470.8020% Off
SEK 101,446.21
SEK 126,807.7720% Off
DKK 68,066.72
DKK 85,083.4020% Off
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About the Item

Peintre actif à Rome au XVIe siècle - entourage de Scipione Pulzone (Gaeta 1550 - Rome 1598) La Pietà (Christ mort soutenu par la Madone) huile sur toile, cm. 78 x 94 encadré cm. 86 x 102 En observant la qualité précieuse ainsi que l'élégance du design de cette intense Pietà du XVIe siècle, nous pouvons comparer son exécution aux œuvres les plus raffinées du maniérisme romain tardif. En particulier, il existe de nombreux points de contact avec le style mature de Scipione Pulzone, dit Gaetano (Gaeta 1550 - Rome 1598), dont l'atelier florissant a repris ce sujet dans de nombreuses variantes. L'artiste est considéré comme l'un des représentants les plus originaux de la peinture à l'époque de la contre-réforme et l'un des artistes les plus estimés actifs sur le territoire romain dans la seconde moitié du XVIe siècle. Dans la toile proposée ici, notre auteur a pu rendre le moment de la lamentation du Christ d'une manière extraordinaire, faisant preuve de précision, de réalisme et de profondeur émotionnelle dans l'interprétation de l'union sacrée entre la Vierge et le Christ, à travers un jeu magistral de contrastes de couleurs et de lumières et d'ombres. La coupe piétiste et dévotionnelle du tableau contre-réformé est évidente dans la toile: la représentation, d'un grand effet dramatique, montre le Christ, après avoir été descendu de croix, accueilli dans les bras de la Vierge. Il y a une forte caractérisation physique et psychologique des personnages rendus par les effets de clair-obscur marqués et par les lignes de contour épaisses en fonction d'une construction plastique et sculpturale des silhouettes; l'intense compassion maternelle se révèle par l'expression de son visage qui, consciente du destin de son enfant, respire la souffrance, mais aussi la résignation calme. Le Christ, abandonné dans l'étreinte de sa mère, montre un visage triste mais en même temps serein, rendu encore plus excitant par le sourire qui semble faire allusion à la Vierge. Le peintre a préféré les nuances froides, avec un fond violacé, créant un effet intense et surréaliste, non sans influences ibériques et flamandes. Le détail de la chrominance avec laquelle notre auteur a voulu définir l'arrière-plan est également incroyablement plein de charme et de signification spirituelle: le violet est lié à la repentance, à l'expiation et au sacrifice. Le tableau, comme tous nos objets, est vendu avec un certificat d'authenticité photographique conforme à la loi (FIMA - CINOA) Pour plus de détails veuillez nous contacter: nous sommes à votre entière disposition pour toute information.
  • Creator:
    Workshop of Scipione Pulzone (Gaeta 1550 - Rome 1598) (1550 - 1620)
  • Creation Year:
    1550-1620
  • Dimensions:
    Height: 33.86 in (86 cm)Width: 40.16 in (102 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Riva del Garda, IT
  • Reference Number:
    1stDibs: LU98816604742

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Pietà Saint John De Morales Paint Oil on table 16/17th Century Old master
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Luis de Morales, called 'El Divino' (Badajoz 1509 - 1586) workshop of La Pietà with Saint John Oil on panel (82 x 65 cm /In frame 109 x 92 cm) STATE OF CONSERVATION: The panel is in good condition, with restorations and cracks clearly visible from the pictures. Gilded and lacquered wooden frame, in good condition. We present this intense Pietà executed on wood panel, the work of a painter of the late Spanish Renaissance who drew on the celebrated iconographic model created by Luis de Morales, known as El Divino (Badajoz 1509-1586), a subject reproposed by the artist and then by his flourishing workshop in numerous versions. This is an extraordinary work, in which the author demonstrates incredible realism and emotional depth in his portrayal of the Madonna and Christ, accompanied by Saint John the Evangelist. In an extremely devout Spain, Luis de Morales counts himself as one of the painters most interested in the dramatic aspects of Christ's life, from his painful Passion journey to his death. This devotional subject, the Pieta, so frequent in Christian art, is renewed in Morales' art with enormous expressive force; it is not for nothing that the artist was nicknamed the Divine, and not only for the creation of a devotional iconography in line with the spirituality of the time, but also for the intrinsic intensity of his religious paintings. The depiction, to great dramatic effect, shows Christ, immediately after being deposed from the cross, gently welcomed into the arms of the Virgin. The intense maternal compassion is also evident in the expression on her face, which, always aware of her son's fate, exudes suffering, melancholy but also serene resignation. Christ, abandoned in his mother's embrace, shows an emaciated and sorrowful face, made even more ghostly by his half-open mouth. The tree of the cross looms over the figures, emphasised by an evocative dark, completely monochrome background, to which the three figures are contrasted with strong lighting. Evident in Morales' painting is the devotional slant typical of Counter-Reformation painting, accentuated by a style that recalls both Italian painting for its research and chiaroscuro effects, and Flemish and German painting for its strongly accentuated dramatic tones. The work shows a strong physical and psychological characterisation of the characters, rendered by the marked chiaroscuro effects and the plastic construction of the figures, also using a sfumato technique, which show the primary influence of Leonardo da Vinci, Raphael and Sebastiano del Piombo. On the other hand, his Flemish training is evident in the anatomical modelling and treatment of the folds of the Virgin's dress, which retain the sharpness of the Nordic painting tradition. We can mention, among the most beautiful versions similar to our composition: - Fig.1 Luis de Morales (c. 1520-1586), La Piedad, c. 1568, Óleo sobre tabla 72 x 50 cm.
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