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16th century, Tuscan school, Holy family with St. John

$10,633.07

£7,970.15

€9,000

CA$14,608.04

A$16,308.50

CHF 8,545.41

MX$199,632.02

NOK 108,526.76

SEK 102,326.96

DKK 68,511.28

About the Item

16th century, Tuscan school Holy Family with St. John Oil on panel, 82x71 cm Framed, 92x81 cm The term maniera, already in use in the Tuscan area in the 15th century, took on a special meaning in the Lives of Giorgio Vasari (who, moreover, was one of the principal mannerist painters): with the expression maniera moderna, the artist and art historian from Arezzo indicated the style of the great painters of that period, known to him as the Third Age, that is, what we now consider the mature Renaissance. It was therefore the style of artists such as Leonardo, Michelangelo, Raphael, and Giorgione. The term Mannerism arose in the 18th century to refer scornfully to all those artists who, beginning in the early decades of the 16th century, instead of imitating nature, took to imitating the "manner" of the great artists of the mature Renaissance. Today the term has been stripped of the negative connotation it originally had and indicates all those artistic processes that began to distance themselves from Renaissance modes in order to elaborate new and different patterns from those produced earlier, and that in some ways could even constitute an evolution of the Renaissance itself. Our panel presents all the key features of Mannerist painting. One of the most obvious aspects of Mannerist painting is that of the relentless pursuit of artifice and grace. Mannerist artists no longer aim for perfect mimesis of reality, but rather for a representation that enhances technical virtuosity and intellectual originality. The figures are often elongated, sinuous, with contorted and unnatural, almost dancing poses. This elongation of forms, evident in artists such as Parmigianino or Bronzino, gives the works a sense of almost ethereal elegance, but at the same time it alters classical proportion, introducing a feeling of artificiality. Another peculiarity of manner painting is the unconventional use of color and light. Colors in Mannerism are not always naturalistic; they are often acidic, iridescent, artificial, and are juxtaposed in surprising ways, creating striking visual effects. Light, in turn, does not illuminate scenes uniformly and rationally as in the Renaissance, but is often focused on specific points, creating dramatic chiaroscuro and highlighting unexpected details. This manipulation of color and light contributes to an often unrealistic, dreamlike or even hallucinatory atmosphere. Mannerist composition tends to be complex and asymmetrical, breaking with traditional Renaissance centrality and symmetry. Figures are often grouped in unusual ways, occupying corners or marginal portions of the canvas, leaving unexpected gaps in the center. Diagonal lines and serpentine compositions (such as the famous serpentine figure) lend dynamism and tension to the works, guiding the viewer's eye through nonlinear paths. This compositional approach reflects a willingness to experiment and a break with established rules. In the painting in question, in the center of the scene, the Madonna is depicted with a pale, delicate complexion and her hair gathered by a light veil that encircles her head, creating an aura of purity. She wears a gown with pink sleeves that emerge from a wide yellow-gold mantle, with stiff, almost sculptural folds typical of the iconography of Tuscan art in the first half of the 16th century, which lend volume and a sense of solemnity to her figure. His gaze is turned toward St. John on the left. Baby Jesus is seated on the Virgin Mary's knees, in a pose that, while maintaining a certain childlike grace, already exhibits that twisting and fluidity typical of Mannerist figures. In his right hand he clutches an apple, a symbolic reminder of his sacrifice for the redemption of humanity. His expression is serene and contemplative as he interacts with little St. John with his left hand. St. John, on the left, wears a red cloth covering his lower body and a fur coat around one shoulder, a typical attribute of the Baptist. His pose is more dynamic than that of Baby Jesus, with his body leaning slightly forward, as if he were reaching out. He clutches a barbed cross, a symbol of his future martyrdom, and turns his gaze toward Jesus. On the right, in the background, appears St. Joseph. His face, framed by a thick white beard and hair of the same color, is characterized by deep, thoughtful expressions. He seems to watch the children carefully, with an expression of benevolent protection. He wears a suit in earthy tones, which complements him in the dark background. The background features a rocky landscape with dark tones, creating a stark contrast that makes the figures in the foreground stand out. On the left, a mountainous, almost Nordic landscape opens up, with stylized trees and a building emerging among the rocks, giving a feeling of depth and suggesting a broader, though not detailed, narrative context. The use of color is characteristic of Mannerism: tones are bright and sometimes acidic, especially in the Madonna's mantle and St. John's cloth, but juxtaposed with darker, earthier colors for the background and St. Joseph. The figures are elongated and sinuous, and the poses, while recognizable, tend toward a sophisticated and sometimes contrived elegance, breaking away from Renaissance naturalness.

Dimensions:

Height: 27.96 in (71 cm)Width: 34.26 in (87 cm)Depth: 1.97 in (5 cm)

Style:

Other (In the Style Of)

Materials and Techniques:

Wood,Oiled

Place of Origin:

Italy

Period:

18th Century and Earlier

Date of Manufacture:

16th Century

Condition:

Wear consistent with age and use.

Seller Location:

Milan, IT

Materials

Copper

Located in Milan, IT

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16th century, Tuscan school, Holy family with St. John

About the Item

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