Giovan Battista Salvi / Il Sassoferrato, Madonna & Child, 1660, Oil on Canvas, Framed

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Description

Giovan Battista Salvi, known as "il Sassoferrato" (1609 - 1685) Circle/Workshop
Madonna with the Sleeping Child
Oil on canvas (84 … Read more Giovan Battista Salvi, known as "il Sassoferrato" (1609 - 1685) Circle/Workshop
Madonna with the Sleeping Child
Oil on canvas (84 x 66 cm - Framed (19th century) 112 x 95 cm.

The painting presented here, executed in the second half of the 17th century with good quality execution and refined brushwork, depicts the Madonna in adoration as she gently holds the sheet on which the sleeping Child lies, with a gesture of protection and pride that fosters an atmosphere of intimate contemplation.

The compositional prototype was conceived by the great Bolognese master Guido Reni (1575 - 1642), as evidenced by a print by François de Poilly (Paris 1623–1693). Like many of the artist's creations Reni's work was later revived and popularized by subsequent versions executed by his students and followers, such as the 'Madonna and Child' attributed to Francesco Gessi (Bologna, 1588 - 1649) and now in the Louvre.

This subject, albeit with some variations—often the sleeping child's pose, facing upward as in this version, rather than reclining to the side, or the Virgin's position, with her hands clasped in prayer—enjoyed such success that it became the preferred model for countless works intended for private devotion throughout the 17th century.

One of the greatest proponents of Rhenish images was undoubtedly Giovan Battista Salvi, known as "il Sassoferrato" (1609 - 1685), who, in his flourishing workshop, adopted the subjects but reworked them in his own clearly identifiable style, characterized by a His work displays remarkable elegance, sweetness, and formal perfection, particularly in the faces, achieving an incredibly intense effect.

Born in the Marche region, Salvi developed his practice in Rome, following the dictates of classicist sacred painting from the Bolognese school of Reni, Carracci, and Domenichino, yet managing to develop a distinct and therefore distinctive style. The Madonnas produced by his workshop, with their pale faces and vibrant robes, their gentle gazes, and the grace of their features, would provide inspiration to the Pre-Raphaelites and numerous other 19th-century artists two centuries later.

Our canvas is in good condition, although it features some old retouching and small pictorial flaws, as can be clearly seen in the published photographs. These, however, do not detract from its beauty. The work is presented in a beautiful 19th-century wooden frame.

ADDITIONAL INFORMATION:

The work is for sale Accompanied by a certificate of authenticity and a descriptive iconographic sheet. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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