Scipione Pulzone, Madonna and Child, 1590, Oil on Canvas

Details

Description

Scipione pulzone (gaeta, c. 1540 - rome, 1598) attributable
madonna and child, the infant saint john the baptist, and saint … Read more Scipione pulzone (gaeta, c. 1540 - rome, 1598) attributable
madonna and child, the infant saint john the baptist, and saint elizabeth

oil on canvas

119 x 102 cm - frame 130 x 114 cm

details of the painting

this interesting painting depicts a captivating and widespread iconographic theme in christian tradition: the virgin holding the child in her arms are the protagonists of this loving devotional image. Completing the composition are the infant saint john the baptist and his mother, elizabeth (also mary's cousin).

through the exchange of glances between the mothers and children, the dialogue between them is rendered intimate, domestic, and emotional, prefiguring their future spiritual bond.

mary's fixed gaze, her hands outstretched and clasped in prayer, contrasts with the luminous presence of the child, who holds a small red carnation in his tiny hands, alluding to the passion, and gazes directly at the viewer to establish a direct connection. He is depicted naked, revealing his complementary earthly and divine nature, and in a disheveled pose that, in addition to lending dynamism to the devotional image, indicates our painter's marked adherence to reality.

these compositional elements and the remarkable stylistic characteristics of the canvas lead us to confirm the traditional attribution to scipione pulzone, known as gaetano (gata 1544 – rome 1598), one of the most influential and original painters active in rome in the second half of the 16th century.

his sober and extremely clear style, which contrasted with mannerist complexity, aimed at communicative clarity and was inspired by renaissance models, particularly raphael (whose "madonna colonna" seems to have directly inspired the figure of mary), aiming for a profound expressive simplicity and a sense of timeless grace.

the attention to detail and the study of light that highlights the figures in the foreground, emphasizing the modesty of the madonna and the simple humanity of saint anne, portrayed with her face marked by time, confirm his similarity to the hand of scipione pulzone.

the striking contrast between the youth of the madonna and the old age of saint elizabeth in particular is not only a common visual device in pulzone's art, but constitutes the theological core of his sacred painting: the two figures, with their miraculous maternities, become the tangible demonstration of the divine miracle.

elizabeth's deep wrinkles, now barren with age, are tangible signs of time and the toil of human history welcoming the miracle. Mary's smooth, incorruptible ivory skin reflects a spiritual youth untouched by original sin or physical decay.

the painter returned to this subject on several occasions; among the paintings most similar to our canvas are the holy family with the infant saint john and saint elizabeth (image 1 - sotheby's auction, new york, january 8, 1981, no. 98) and the holy family with the infant saint john and saint anne (image 2 - galleria borghese, rome).

in both works, as in ours, the elderly woman's face is rendered with extraordinary and rigorous realism (typical of his skill as a "natural" portraitist), highlighting her deep wrinkles, her time-worn skin, and the monastic veil covering her head.

the madonna's face in our painting displays a strong expressive similarity to pulzone's countless marian models: the gently half-closed, downward-looking eyes, the perfect oval profile, the expression of composed and melancholic sweetness, and the almost enameled and smooth rendering of the complexion are the exact stylistic elements found in his famous madonnas of divine providence (for example, image 3: convent of san carlo ai catinari, rome).

finally, the gesture of the virgin's hands (such as the tapered and composed fingers) evoke the measured and extremely chaste gestures that pulzone assigns to his saints and his praying madonnas, and which we can find, for example, in the assumption of the virgin in the church of san silvestro al quirinale (image 4).

additional information:
the work is presented in a beautiful gilded wooden frame and comes with a certificate of authenticity and a descriptive iconographic sheet.
we handle and organize the shipping of purchased works, both in italy and abroad, using professional and insured carriers.
contact us for any information; we will be happy to assist you. The painting is also available for viewing at our gallery in riva del garda; we look forward to welcoming you to show you our collection of works. 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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