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Antoon van Dyck - Christ of the coin
fullscreen
Antoon van Dyck - Anton Giulio Brignole - Salt on horseback
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Giovanni Francesco Barbieri, detto Guercino - Dying Cleopatra
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Giovanni Francesco Barbieri, detto Guercino - Eternal Father with a little angel
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Bernardo Strozzi, detto il Cappuccino - The Cook
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Guido Reni - San Sebastian
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Jacopo Negretti, detto Palma il Vecchio - Madonna and Child between Saints John the Baptist and Magdalene
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Carlo Antonio Tavella - Lake landscape
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Lorenzo De Ferrari - The living room of the Virtues of the Patries
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Domenico Piola - Allegory of Autumn
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Domenico Piola - The chariot of the sun with the seasons
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Giovanni Benedetto Castiglione, detto il Grechetto - Nativity
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Gerard David - Madonna della Pappa
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Jan Wildens - January - Ice skaters
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Leon Cogniet - Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
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Pellegro Piola - Holy Family known as the butterfly
Antoon van Dyck - Christ of the coin
Antoon van Dyck - Anton Giulio Brignole - Salt on horseback
Giovanni Francesco Barbieri, detto Guercino - Dying Cleopatra
Giovanni Francesco Barbieri, detto Guercino - Eternal Father with a little angel
Bernardo Strozzi, detto il Cappuccino - The Cook
Guido Reni - San Sebastian
Jacopo Negretti, detto Palma il Vecchio - Madonna and Child between Saints John the Baptist and Magdalene
Carlo Antonio Tavella - Lake landscape
Lorenzo De Ferrari - The living room of the Virtues of the Patries
Domenico Piola - Allegory of Autumn
Domenico Piola - The chariot of the sun with the seasons
Giovanni Benedetto Castiglione, detto il Grechetto - Nativity
Gerard David - Madonna della Pappa
Jan Wildens - January - Ice skaters
Leon Cogniet - Maria Brignole-Sale De Ferrari, Duchess of Galliera with her son Filippo
Pellegro Piola - Holy Family known as the butterfly

Other works on display

Description

The painting is one of the masterpieces of Palma il Vecchio, an exponent of Venetian art of the early sixteenth century. The artist was trained in Venice at the Giovanni Bellini school and, later, was influenced by the stylistic demands of Giorgione and Tiziano. In this "Sacra Conversazione" datable to around 1520-1522, the half-length figures are perfectly inserted in the luminous landscape of the background, pervaded by a clear and diffused light typical of Venetian painting between the fifteenth and sixteenth centuries. The symmetry with which the characters on the sides of the Virgin are arranged is a clear reference to Bellini, but the sumptuousness of the undulating drapery, as well as the solemnity of the attitudes of the Magdalene and the Baptist and the well-articulated and unconstrained space, reveal an autonomous maturity of the painter's style in a fully Renaissance sense. To underline the splendid color scheme of the work, in which the ultramarine blue of the Virgin's mantle prevails over the blue with gray iridescence of Mary Magdalene's dress, in turn in harmonious counterpoint with the gray tunic and olive green mantle of the Baptist. The tender gazes of the women, the soft curls of the Baptist's hair, the accuracy of details such as the burgundy velvet sleeve of the Magdalene's right arm, the excellent quality of the texture across the entire surface of the painting, these and other aspects make of this work an excellent example of the painting of Palma.

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