17th-18th Century Virgin with in Garland of Flowers Painting Oil on Canvas

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17th-18th Century Virgin with in Garland of Flowers Painting Oil on Canvas

About the Item

Area of ??Luca Giordano, 17th - 18th century Virgin Mary within a garland of flowers Measures: Oil on canvas, 66.5 x 87 cm - with frame, 80 x 100.5 cm The intimate and delicate canvas in question depicts the illuminated face of the Virgin framed by a crown overflowing with flowers. Looking at the painting we almost seem to hear the words of the Song of Songs, with which the bride (Mary) is described: "Who is she who rises like the dawn, beautiful like the moon, shining like the sun [...]? Like a purple ribbon your lips and your mouth are suffused with grace; like a slice of pomegranate your cheek through your veil. Like the tower of David your neck, built like a fortress. The smell of your perfumes surpasses all aromas. […] You are a closed garden ”. The figure of the Madonna with a pale pink complexion is carefully investigated by the artist. You can distinguish the lips of a soft rosy red, a nuance also taken up in the cheeks, as well as the Virgin's brown eyes, large and shiny, which turn to the sky, giving an aura of ecstatic contemplation to our protagonist dressed in a blue mantle that the purple robe covers her. The soft hands of Mary join her chest overlapping to symbolize her inner reflection in a moment of divine intercession, close to both the images of the Assumption and those of the Immaculate Conception, as another detail suggests to us, the crown of stars. Detail that makes the sense of a luminous and radiant manifestation of the Madonna even more. Also noteworthy and meticulously detailed is the floral crown that surrounds the face of the Virgin, queen of flowers: a riot of roses (symbol of beauty, grace, majesty, perfection and incorruption), lilies (purity, innocence, pride and nobility) , tulips (an expression of peace, renewal and therefore of true love, divine love), anemones and others, which refer to the image of the garden (l'hortus conclus) and the perfume released: "Your lips drip virgin honey , O bride, - there is honey and milk under your tongue - and the perfume of your garments is like the perfume of Lebanon ”. From a stylistic point of view, the work is to be placed between the second half of the seventeenth century and the first half of the eighteenth century, in particular, we can find several similarities with the paintings of Luca Giordano (1634-1695) and some masters and students of him. Giordano, one of the main exponents of Neapolitan Baroque painting of the seventeenth century, contemporary with Jusepe de Ribera (at whose workshop he trained), Salvator Rosa, Bernardo Cavallino and Mattia Preti (active in Naples since 1653), distinguished himself for the rich production and for his pictorial research in a Naples already marked by the passage of Caravaggio. He also moved to Rome, where he had the opportunity to get to know the viceregal environment, thanks to Cardinal Ascanio Filoromano, who opened the doors of the Spanish patronage and the Venetian colourism to him, thanks to Pietro da Cortona. Between 1662 and 1664 he was in Venice where he was able to deal directly with the works of Tintoretto, Veronese and Titian. In the second half of the seventeenth century, when he returned to Naples, the commissions followed one another uninterruptedly. His language moves towards a strong chromatic mixture, a warm luminosity, an eloquent language and a beautiful compositional complexity which is accentuated by the plastic motifs and the virtuosic glimpses, as in the present painting. The perspective from below that captures the face of the Virgin highlighting the nostrils, the hollows of the eyes, the eyelids, the chin, at the same time throwing the figure upwards, returns very often in the works of the master, just think of the faces of the countless female figures, but also male, which represents: The penitent Magdalene and Santa Rosa (both at the Prado Museum in Madrid), the Death of Lucrezia (formerly Bellesi, London), Immaculate Conception (Palazzo Pitti, Florence), Dolorosa (private collection , Zaragoza), etc. But, other comparisons, especially as regards the composition of the work, can be made with paintings by Giordano himself, but also by his pupil Nicola Malinconico (called to replace the master when he goes to Spain). Examples are some canvases which, with a lowered perspective, depict figures of saints and religious figures within a riot of flowers that are always different and distinct with great skill, such as Garland of flowers with San Gennaro in Glory of Malinconico, Ghirlanda of flowers with penitent Magdalene of the circle of Luca Giordano, Garland of flowers with flutist (attributed to Giordano in collaboration with Giuseppe Recco), Democritus and Heraclitus or Saint Joseph with Child within a garland of flowers, attributed to Luca Giordano in collaboration with Abraham Brueghel. As for the rich floral and foliage composition, the collaboration of the Giordano workshop with artists specialized in generates, in particular, given the stylistic comparisons, with the workshop of Giovanni Stanchi (1608-1675), called Dei Fiori, cannot be excluded. one of the artists who marked the transition from Caravaggesque naturalism to the more mature phase of Baroque decorativism and whose works, to date, are preserved in various museums, including the Uffizi Gallery in Florence.

Similar to:
Luca Giordano (Painter)
Dimensions:
Height: 39.77 in (101 cm)Width: 31.5 in (80 cm)Depth: 1.97 in (5 cm)
Materials and Techniques:
Canvas,Hand-Painted,Oiled,Painted
Place of Origin:
Italy
Period:
Late 17th Century
Date of Manufacture:
17th-18th Century
Condition:
Refinished. Wear consistent with age and use. The painting has been cleaned.
Seller Location:
Milan, IT
Reference Number:
1stDibs: LU5918228010322