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17th Century Madonna with Child Painting Oil on Canvas Tuscan School
About the Item
17th century, Tuscan school
Madonna and Child
Oil on canvas, 31 x 21 cm
With frame, cm 37,5 x 27,5
The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit.
The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi (1502-1567 - see, for example, his Madonna with Child and San Giovannino, private collection), it is necessary to recall the production of Francesco d'Ubertino Verdi, better known as the Bachiacca, famous pupil of Perugino first and aide of Franciabigio then, to reconstruct the particular pictorial line. Active in the decoration of the Borgherini wedding chamber in the first half of the sixteenth, the artist brought with him the influences of Michelangelo when he entered the service of the Medici for the embellishment of Palazzo della Signoria. The comparison with his paintings on the same subject or in which the figures of Saint Elizabeth and the Child were inserted, recall how the author of the canvas in question respected the academicism of Tuscan-centric derived him from an evident training on the spot (The Frick Art Museum, Pittsburgh; The Metropolitan, New York; Dallas Museum of Art; private collections; but also Leda and the Swan and Eva with Cain and Abel preserved at the aforementioned The MET). In the particular charm of the nose of the Child, it is also possible to recognize the lesson of Michele Tosini, student of Lorenzo di Credi, then of Antonio del Ceraiolo and finally of Ridolfo del Ghirlandaio (Madonna with Child and San Giovannino, Bergamo, Accademia Carrara)
- Dimensions:Height: 14.97 in (38 cm)Width: 11.03 in (28 cm)Depth: 1.19 in (3 cm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:17th Century
- Condition:Refinished. Wear consistent with age and use. The painting has been cleaned.
- Seller Location:Milan, IT
- Reference Number:1stDibs: LU5918232470652
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