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Defendente Ferrari - Ritratto di Riccardo III
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Bernardino Lanino - Compianto sul Cristo morto
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Giorgio Chiulinovich, detto Lo Schiavone - Madonna con il Bambino
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Antoon van Dyck - I figli di Carlo I d'Inghilterra
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Andrea Mantegna - Madonna con il Bambino e sei santi
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Piero Benci, detto il Pollaiolo - L'arcangelo Gabriele e Tobiolo
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Pieter Verbruggen il Vecchio - Bassorilievo con una ghirlanda di fiori e frutta
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Madonna con il Bambino
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Filippo Lippi - I tre arcangeli e Tobiolo
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Giovanni Francesco Barbieri, detto Guercino - il ritorno del figliol prodigo
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Agnolo di Cosimo, detto il Bronzino - Ritratto di Gentildonna
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Beato Angelico - Madonna con il Bambino
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Jacopo Robusti, detto Tintoretto - Trinità
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Jan van Eyck - Stigmate di San Francesco
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Jan Brueghel il Giovane - La vanità della vita umana
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Rembrandt Harmenszoon van Rijn, detto Rembrandt - Ritratto di Vecchio
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Orazio Gentileschi - Annunciazione
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Sandro Botticelli - Venere
Defendente Ferrari - Ritratto di Riccardo III
Bernardino Lanino - Compianto sul Cristo morto
Giorgio Chiulinovich, detto Lo Schiavone - Madonna con il Bambino
Antoon van Dyck - I figli di Carlo I d'Inghilterra
Andrea Mantegna - Madonna con il Bambino e sei santi
Piero Benci, detto il Pollaiolo - L'arcangelo Gabriele e Tobiolo
Pieter Verbruggen il Vecchio - Bassorilievo con una ghirlanda di fiori e frutta
Madonna con il Bambino
Filippo Lippi - I tre arcangeli e Tobiolo
Giovanni Francesco Barbieri, detto Guercino - il ritorno del figliol prodigo
Agnolo di Cosimo, detto il Bronzino - Ritratto di Gentildonna
Beato Angelico - Madonna con il Bambino
Jacopo Robusti, detto Tintoretto - Trinità
Jan van Eyck - Stigmate di San Francesco
Jan Brueghel il Giovane - La vanità della vita umana
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Ritratto di Vecchio
Orazio Gentileschi - Annunciazione
Sandro Botticelli - Venere

Other works on display

Description

The canvas is the fragment of an altarpiece. The iconography is however identifiable with the Trinity, however rethought by Tintoretto in an original and personal way. God the Father with his arms open with a gesture of pity and acceptance at the same time hangs over the cross with the dead Christ, made in a very short-lived perspective. Between the two is the dove of the Holy Spirit. On the sides two angels watch over the crucifix. Lower down, partially cut, two winged cherubs pray with folded hands. In the background you can see freshly sketched cherub heads. The intense colors of the characters' garments, to suggest their silky consistency, are enhanced by a wise use of chiaroscuro and tonal painting. A yellow-amber diffused light illuminates the portion of the scene emphasizing the shadows on the faces and bodies, thus emphasizing the tragic nature of the event. This portion of the painting has fortunately survived a disastrous fire. It comes from the Venetian church of San Girolamo, which burned down in 1705. It therefore seems likely that the Genoese Gerolamo Ignazio Durazzo had bought it following those dramatic circumstances. According to recent documentary reports, it seems that the painting was placed on the altar dedicated to Saint Adriano, built in 1560 on behalf of Piero Alessandro Lippomano, formerly the painter's former commissioner. In addition to the Trinitarian group, the altarpiece was made up of the presence of Saints Hadrian, Francis and Augustine at the foot of the cross. Its dating is oriented around 1561-62. The work was purchased by Carlo Felice di Savoia in 1824.

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