Virgin, Italian school 18th century

Title: Virgin, Italian school 18th century
Description: Follower of CARLO MARATTA (Camerano, 1625- Rome, 1713). Devotional work that presents the Virgin Mary with a bust, in the foreground and captured at a large size, occupying most of the pictorial surface. It is a monumental figure, worked with great delicacy and directly illuminated by a clear and uniform light, with classical roots. María stands out against a neutral, flat and dark background, illuminated around her head by the halo of golden light. The Virgin appears dressed in a red tunic, alluding to the Passion of Christ and her own pain for the death of her Son, and a blue mantle, common in Marian iconography as a symbol of the concepts of truth and eternity. The figure shows a dynamic position, elegantly twisted, with her face tilted to one side and turned downward, towards the faithful who prays at her feet, showing herself as an intercessor between God and man. As a symbol of compassion and humility, Maria puts a hand to her breast. It is an image of great beauty, in which an idealized but naturalistic face stands out, with large and expressive deep eyes, drooping eyelids, a long and elegant nose and a small mouth, puckered into a smile. Due to the treatment of the clothes and the cloth of the Virgin, this canvas could have been made by a follower of Carlo Maratta, an Italian painter of the "high baroque", who worked mainly in Rome. Carlo Maratta, also known as Carlo Moratti, was born in Camerano, then part of the Pope's Estates of Rome, the city to which he traveled in 1636, apparently with Taddeo Barberini's secretary, and became an apprentice in Andrea's workshop Sacchi. At this time his style was close to Sacchi's classicism, more measured and harmonious than Cortona's baroque and influenced by Carracci, Guercino, Guido Reni, etc. He carried out numerous commissions for Pope Alexander VII (reign 1655-1667) and, from around 1660, highlights his "client portfolio" spread throughout Europe and belonging to the upper class, which led to the establishment of the main workshop in Rome after Bernini's death in 1680, from which time he became the most important artist in the city. In 1664 he became director of the Accademia di San Luca in Rome, further promoting the study of classical antiquity. He carried out works that are preserved in the Palazzo Altieri, in the Pitti Palace of Florence, in Santa Maria in Vallicella, in the Cybo Chapel of Santa María del Popolo, etc. It is also necessary to indicate that, in addition to the frequent religious theme, he was highly appreciated as a portraitist, and also for his works on mythological themes. Since the beginning of the 18th century, due to the economic situation, he would dedicate himself above all to the "pictorial restoration" of works by Rafael Sanzio, Carracci, etc. Outstanding private collections from all over the world conserve the master's work, in addition to institutions such as the Prado Museum in Madrid, the National Gallery in London, the Hermitage in Saint Petersburg, the Thyssen-Bornemisza Museum in Madrid, the Getty Museum, the Royal Museums of Fine Arts of Belgium, etc.
Date/Period: 18th Century
Materials: Oil on Canvas
Dimensions: 73 x 59 cm; 93 x 79 cm (frame)

Reserve: $2975.00

Shipping:
Domestic: Flat-rate of $959.00 to anywhere within the contiguous U.S.
International: Foreign shipping rates are determined by destination.
Combined shipping: Please ask about combined shipping for multiple lots before bidding.
Location: This item ships from Spain.

Your purchase is protected:
Photos, descriptions, and estimates were prepared with the utmost care by a fully certified expert and appraiser. All items in this sale are guaranteed authentic.

In the rare event that the item did not conform to the lot description in the sale, Jasper52 specialists are here to help. Buyers may return the item for a full refund provided you notify Jasper52 within 5 days of receiving the item.
Condition Report: Good Conditions