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Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds
Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds

Madonna of the veil

Valerio Castello

Displayed in:

White Palace

White Palace

Via Garibaldi, 11, Genoa

Closed now: open at 09:30

Verified profile

Descending from an established family of painters and raised in a fervent intellectual environment, Valerio Castello was a very precocious artist, able to overcome the teachings of even established local masters, to turn his gaze to models of international importance: Procaccini, Correggio, Parmigianino , Veronese, Rubens and Van Dyck are the reference points of the artistic career of this painter who had a crucial role, albeit in his short life, in the transition from Baroque to Rococo aesthetics, placing himself as one of the most original and innovative personalities of the Seventeenth century, not only Genoese. In this small but delightful painting he demonstrates an absolute mastery in receiving and reworking the stimuli of the great masters and, at the same time, provides a masterful representation of intimate and delicate maternal love. The tender gesture of the Virgin, intent on covering the Child without disturbing his sleep, is resolved in a graceful composition, in which the soft pastel shades are treated with a fresh and very agile pictorial vein. The brushstroke spreads the color now with transparent glazes, which render the lightness of the veil and of the sheets where the child is blissfully lying, on which the painter pauses to emphasize childish grace and sweetness, now for more full-bodied backgrounds, found in the red cloth on the background and in the dress of the Madonna. The elongated profile of the Virgin, the tapered fingers, the elegance of the movement closely resemble the women of Parmigianino, but the style is less artificial and more direct, mediated by compositional schemes that refer to Van Dyck, of whom, too, Valerio provides a personal, highly original interpretation.
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Details

Title: Madonna of the veil

Author: Valerio Castello

Date: 1650-1655

Technique:

Displayed in: White Palace

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