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

Apex of the painter's mature production, the canvas returns a dramatic image of Calvary, in which the bodies of Christ and the robbers are illuminated by a strong light that pierces the stormy sky. The painting combines memories from Giulio Romano, with derivations from the Nordic world, evident above all in the brawl of the soldiers who dispute the robes of Christ at the foot of the cross, a scene taken from a famous engraving by Luca di Leyda. These pieces of brutal realism are counterpointed by others of refined elegance, such as the composed and very noble lamentation of the mourners on the left, juxtaposed with a frieze as in a classical bas-relief. The restless conduction of the brushstroke that lights up with flashes in the landscape on the background and juts out with plastic evidence the figures in the foreground reveals the now strongly anti-classical propensities that nourish the artist's language in mature years. It is clear that, after the attention paid to Raphael and Parmigianino, the Ferrara painter is looking for other models to refer to in order to express his strongly pathetic imagination and the anguished feeling of religiosity.

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