anticSwiss 25/09/2021 22:54:41 http://www.anticswiss.com

18th century, Madonna and Child, by B. Luini (1480 - 1532)

FOR SALE ANTIQUE DEALER Period: 18° secolo - 1700 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:29cm Width:23cm Material:Olio su tela Price:2200€

DETAILED DESCRIPTION:

18th century, by (Dumenza, c. 1480 - 1532) Madonna and Child Oil on canvas, 29 x 23 cm - with frame 35 x 29.3 cm

In the present the incandescence of the Virgin's mantle is softly surrounded by a palette of pastel tones; the airiness of the composition is reflected in the gently oblique cut of the Madonna's eyes, isolated in the face thanks to the ruby cheeks. The gaze of the Mother, like that of the Son, falls like rain on the slender flowering stem painted in the likeness of the Christmas rose, belonging to the generic family of buttercups. Like the rose and the lily, the buttercup and the various wild flowers held by Jesus symbolize his a priori innocence, while the columbine suggests a continuous praise to God. Not surprisingly, in the present, the open corollas are three, allusion to Trinity, and the floral prototype from which this raceme derives, the buttercup, was the figurative signature of one of the greatest exponents of the Lombard set to music by Leonardo, Bernardino Luini, his excellent pupil. The present is in fact an academic revival, with some variations, of the Madonna and Child by Luini, preserved today in the London Wallace Collection (inv. 10), once considered to be Leonardo's original. The variations with respect to the original model are highlighted in the flower held by the Child, in Luini properly an aquilegia, in the background - which in the prototype is a mere dark backdrop - and in the earth trodden by the Son, in Luini in reality a table with a lot of fabric and booklet. open nearby. The master's canvas was later replicated by his own workshop: replicas date back to when he was still alive, albeit with small variations, today in the Gallarati-Scotti collections in Milan, in the Czernin in Vienna and in the Wellington Museum in London. , as well as in the State Hermitage Museum in St. Petersburg. This last variant, in particular, adds a cyclamen in the upper left corner, a symbol of Mary's pain for the fate of her Son. Today there is no documentation of the initial training of Bernardino Scapi, called Luini due to the city of origin near Dumenza, Luino, except for the Madonna and Child, St. Augustine, St. Margaret and two musician

1 / 3 anticSwiss 25/09/2021 22:54:41 http://www.anticswiss.com angels (Paris, Musée Jacquemart-André) which denounces, in the paratactic compositional order and in the figure of the Father of the Church, an evident Venetian stay, from which the artist was able to extract the figurativism of Cima da Conegliano if not even of Bellini. The fact that the artist signed himself from the beginning as Andreas Mediolanensis testifies to his cultural attachment to the Milanese territory; then trained under Stefano Scotto and known Gaudenzio Ferrari, Luini achieved undying fame with the frescoes at the , with the works for Santa Maria della Passione in Milan, as well as with the cycles of Villa della Pelucca (today Brera). This painting, by an eighteenth-century artist, is part of the cultural climate that promoted the replication for study of ancient excellences, in vogue among the most up-to-date northern painters. Andrea Appiani (1754-1817) produced numerous replicas of Luini's ; after a first apprenticeship with Carlo Maria Giudici, in which he preferred to apply himself to the philological restitution of central-Italian renaissance such as Raphael and Giulio Romano, he moved to the workshop of the painter Antonio De Giorgi and instead approached the real study of Leonardo and Luini. https://www.anticswiss.com/en/fine-art-antiques/18th-century-madonna-and-child-by-b-luini-1480--1532--26225

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