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Francesco Bianchi Ferrari - Saint Jerome in the desert
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Giovanni Francesco Barbieri, detto Guercino - Apollo and Marsyas
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Cristoforo Canozi de Lendinara - Adoration of the Child with San Bernardino - the Eternal Father blessing
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Ludovico Lana - San Sebastiano curated by Irene
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Giovanni Battista Benvenuti, detto l'Ortolano - The Madonna and Child, San Giovannino and Santa Scolastica
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Bartolomeo Passarotti - Peasant playing the lute
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Girolamo Sellari, detto Girolamo da Carpi - The Crucifixion
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Luca Ferrari - Sant'Andrea
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Girolamo Sellari, detto Girolamo da Carpi - Santa Cecilia
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Giovanni Andrea Sirani - Neptune receives tulip bulbs from Earth
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Alessandro Tiarini - Rinaldo and Armida
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Gaspare Venturini - Allegory of the Good Government
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Jacopo Zanguidi, detto il Bertoja - St. Peter and St. Paul. Stories from their life
Francesco Bianchi Ferrari - Saint Jerome in the desert
Giovanni Francesco Barbieri, detto Guercino - Apollo and Marsyas
Cristoforo Canozi de Lendinara - Adoration of the Child with San Bernardino - the Eternal Father blessing
Ludovico Lana - San Sebastiano curated by Irene
Giovanni Battista Benvenuti, detto l'Ortolano - The Madonna and Child, San Giovannino and Santa Scolastica
Bartolomeo Passarotti - Peasant playing the lute
Girolamo Sellari, detto Girolamo da Carpi - The Crucifixion
Luca Ferrari - Sant'Andrea
Girolamo Sellari, detto Girolamo da Carpi - Santa Cecilia
Giovanni Andrea Sirani - Neptune receives tulip bulbs from Earth
Alessandro Tiarini - Rinaldo and Armida
Gaspare Venturini - Allegory of the Good Government
Jacopo Zanguidi, detto il Bertoja - St. Peter and St. Paul. Stories from their life

Other works on display

Description

A masterpiece of "ridiculous" genre painting in vogue at the end of the sixteenth century, the canvas is one of the most surprising highlights of Bartolomeo Passerotti's catalog, thanks to the skilful play between artifice and nature, between faithful portrayal of truth and its distortion caricatured with moralizing and sarcastic intent. In consonance with Cardinal Gabriele Paleotti's "Discourse on sacred and profane images" who appeared in Bologna in 1582, this genre of painting, low and trivial, can escape the indispensable "decorum" in high genre painting. If the allusion to the five senses is evident, symbolized by the gaze, the song, the scent of the rose, the hands touching the instrument, the dog biting the bread, the painting also contains a heavy irony towards senile eroticism; the old farmer with the flower on his hat is lost in his amorous serenade and does not notice that the dog is taking away his bread. This type of production by Passerotti, surprising for the degree of truth of everyday objects, dates back to the seventies, in contiguity with the works of Vincenzo Campi and in advance of Annibale Carracci's "Mangiafagioli", a real manifesto of modern realism.

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