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Royal Museums Turin verified

Turin, Piedmont, Italy closed Visit museumarrow_right_alt

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Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
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Bernardino Lanino - Lamentation over the dead Christ
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Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
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Antoon van Dyck - The children of Charles I of England
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Andrea Mantegna - Madonna and Child with Six Saints
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Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
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Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
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Madonna and Child
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Filippo Lippi - The three archangels and Tobias
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Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
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Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
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Beato Angelico - Madonna and Child
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Jacopo Robusti, detto Tintoretto - Trinity
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Jan van Eyck - Stigmata of St. Francis
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Jan Brueghel il Giovane - The vanity of human life
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Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
fullscreen
Orazio Gentileschi - Annunciation
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Sandro Botticelli - Venus
Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
Bernardino Lanino - Lamentation over the dead Christ
Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
Antoon van Dyck - The children of Charles I of England
Andrea Mantegna - Madonna and Child with Six Saints
Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
Madonna and Child
Filippo Lippi - The three archangels and Tobias
Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
Beato Angelico - Madonna and Child
Jacopo Robusti, detto Tintoretto - Trinity
Jan van Eyck - Stigmata of St. Francis
Jan Brueghel il Giovane - The vanity of human life
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
Orazio Gentileschi - Annunciation
Sandro Botticelli - Venus

Other works on display

Description

Mary, pensive, holds baby Jesus in her lap, robust and erect like a little Hercules. Below, next to them, John the Baptist, just a little older than Jesus, scrutinizes his cousin spellbound, letting his milk teeth leak out. Around, like an architecture of bodies, are Saint Catherine of Alexandria and four other unidentified saints. The story of this panel seems to begin in June 1480: Bona di Savoia, widow of the Duke of Milan Galeazzo Maria Sforza since 1476, turns to Federico Gonzaga, Marquis of Mantua, in the hope that Mantegna, whose fame was at that time without equals, can translate into works of art certain drawings that you undertake to send him. Gonzaga diplomatically denies, but declares himself ready to let her have another table, most likely this one. The Duchess would then take her with her, once she returned to the Savoy land, to Fossano. Evidence of the presence of this painting in Piedmont already in the first decade of the 16th century is given by an altarpiece by an unknown Franco-Piedmontese artist, now preserved in Vienna, which copies the composition and enlarges it.

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