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Italian school Followed by GIOVANNI BATISTA SALVI ; "Il Sassoferrato" (Sassoferrato, 1609 - Rome,
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Descrizione
Italian school Followed by GIOVANNI BATISTA SALVI ; "Il Sassoferrato" (Sassoferrato, 1609 - Rome, 1685).
"Dolorosa".
Oil on copper.
19th century gilded stucco frame.
Measurements: 34 x 28 cm; 43,5 x 37,5 cm (frame).
The devotion to the Virgin's sorrows has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pieta, similar to the previous one although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
Giovanni Battista Salvi, better known as "Il Sassoferrato", was an Italian Baroque painter known above all for his devotional images in which he combined Bolognese classicism with the tenebrism of the Caravaggist tradition, with a wide variety of models and a great deal of diffusion, which often makes it difficult to attribute his work with any certainty. He began his training with his father, Tarquinio Salvi, and furthered it with Domenichino. He settled permanently in Rome and soon achieved a certain degree of success with his gentle painting, allowing him to establish an important workshop in the city that repeated the master's style and outlines.
His work can be found in important institutions such as the National Gallery in London, the Museo del Prado in Madrid, the Palazzo Barberini in Rome, the Uffizi Gallery in Florence, and so on.
"Dolorosa".
Oil on copper.
19th century gilded stucco frame.
Measurements: 34 x 28 cm; 43,5 x 37,5 cm (frame).
The devotion to the Virgin's sorrows has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pieta, similar to the previous one although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
Giovanni Battista Salvi, better known as "Il Sassoferrato", was an Italian Baroque painter known above all for his devotional images in which he combined Bolognese classicism with the tenebrism of the Caravaggist tradition, with a wide variety of models and a great deal of diffusion, which often makes it difficult to attribute his work with any certainty. He began his training with his father, Tarquinio Salvi, and furthered it with Domenichino. He settled permanently in Rome and soon achieved a certain degree of success with his gentle painting, allowing him to establish an important workshop in the city that repeated the master's style and outlines.
His work can be found in important institutions such as the National Gallery in London, the Museo del Prado in Madrid, the Palazzo Barberini in Rome, the Uffizi Gallery in Florence, and so on.
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Italian school Followed by GIOVANNI BATISTA SALVI ; "Il Sassoferrato" (Sassoferrato, 1609 - Rome, 1685).
"Dolorosa".
Oil on copper.
19th century gilded stucco frame.
Measurements: 34 x 28 cm; 43,5 x 37,5 cm (frame).
The devotion to the Virgin's sorrows has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pieta, similar to the previous one although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
Giovanni Battista Salvi, better known as "Il Sassoferrato", was an Italian Baroque painter known above all for his devotional images in which he combined Bolognese classicism with the tenebrism of the Caravaggist tradition, with a wide variety of models and a great deal of diffusion, which often makes it difficult to attribute his work with any certainty. He began his training with his father, Tarquinio Salvi, and furthered it with Domenichino. He settled permanently in Rome and soon achieved a certain degree of success with his gentle painting, allowing him to establish an important workshop in the city that repeated the master's style and outlines.
His work can be found in important institutions such as the National Gallery in London, the Museo del Prado in Madrid, the Palazzo Barberini in Rome, the Uffizi Gallery in Florence, and so on.
"Dolorosa".
Oil on copper.
19th century gilded stucco frame.
Measurements: 34 x 28 cm; 43,5 x 37,5 cm (frame).
The devotion to the Virgin's sorrows has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pieta, similar to the previous one although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.
Giovanni Battista Salvi, better known as "Il Sassoferrato", was an Italian Baroque painter known above all for his devotional images in which he combined Bolognese classicism with the tenebrism of the Caravaggist tradition, with a wide variety of models and a great deal of diffusion, which often makes it difficult to attribute his work with any certainty. He began his training with his father, Tarquinio Salvi, and furthered it with Domenichino. He settled permanently in Rome and soon achieved a certain degree of success with his gentle painting, allowing him to establish an important workshop in the city that repeated the master's style and outlines.
His work can be found in important institutions such as the National Gallery in London, the Museo del Prado in Madrid, the Palazzo Barberini in Rome, the Uffizi Gallery in Florence, and so on.
14th June - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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