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Oil on canvas Jesus child within garland of flowers 18th century

$4,323.55

£3,184.29

€3,600

CA$5,881.85

A$6,536.04

CHF 3,424.95

MX$80,152.84

NOK 43,683.27

SEK 41,095.62

DKK 27,406.25

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About the Item

Lombard School, 17th century Christ child with globe within garland of flowers Oil on canvas, 72 x 61 cm Framed 90, 5 x 80 The present painting, framed by a sumptuous antique frame, depicts the figure of the Christ Child with the globe within a floral garland. The Italian evolution of the pictorial genre of the diﬁori garland, a devotional typology born of the intellectual collaboration between Cardinal Federico Borromeo and Jan Brueghel the Elder. Beginning in the second half of the 16th century, Lombard art was affected by a gradual diﬀusion of ﬁammingian models mainly attributable to two factors: the intensification of economic and commercial relations between Milan and Brussels related to the common Spanish rule and, subsequently, the passion for ﬁamming art of Cardinal Federico Borromeo The co-presence of these elements, led in the early 17th century to the diﬀusion in the local art scene of the genres of landscape and still life, as well as the creation of a new iconograﬁa: the Madonna and Child in a garland of ﬁres. The garland genre then spread widely in the 17th and the first half of the 18th century not only in the Lombard area but also in Flanders and Spain. The analysis of the pictorial evolution of the ﬁori garland constitutes a rather recent field of study that builds on an illuminating article by David Freedberg, published in 1981. For Freedberg, adorning a sacred image by means of a garland has not only a mere decorative function but also elevates the object from its earthly nature, emphasizing the importance of its supernatural and devotional function. Pamela M. Jones states that Borromeo owes the conception of the motif to his adherence to the theological current called, Christian Optimism, according to which nature, and therefore also ﬁres, are one of the manifestations of divine greatness. We also need to look at the custom of adorning religious images with wreaths of ﬁres during processions, in the diﬀusion in northern Europe of the so-called Besloten Hofjes, or multidimensional compositions in which a statue of the Virgin and Child was decorated by means of ﬁres, trees, and plants created in silk. In essence, the garland seems to incorporate popular, theological, and scIentiﬁc aspects of ﬁnish-sixteenth-century society, accumulating several factors that together contributed to its diﬀuseful commercial success in the seventeenth century. The earliest conception of Madonna and Child in the center of a floral garland is the Ambrosiana, attributed to Jan Brueghel with ﬁgures by Hendrick van Balen Particular attention is given to the wreath production of Carlo Antonio Procaccini, a member of one of the most important families of artists of the time, who, in the latter part of his 30-year career, specialized in a curious variant of the genre in which the Virgin and Child are replaced by a ﬁamming-style landscape and New Testament episodes. This distinctively local declension constitutes a point of contact between Borromeo's invention and the Nordicizing development of Lombard art. From here Lombard painters reworked the garland motif by adding scenes from the gospels, landscapes, and as in our case, the figure of Christ Salvator Mundi inside.

Dimensions:

Height: 39.38 in (100 cm)Width: 31.5 in (80 cm)Depth: 1.97 in (5 cm)

Materials and Techniques:

Canvas

Period:

18th Century

Date of Manufacture:

18th Century

Condition:

Wear consistent with age and use.

Seller Location:

Milan, IT

Reference Number:

1stDibs: LU5918237153072

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