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Royal Museums Turin verified

Turin, Piedmont, Italy open Visit museumarrow_right_alt

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Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
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Bernardino Lanino - Lamentation over the dead Christ
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Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
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Antoon van Dyck - The children of Charles I of England
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Andrea Mantegna - Madonna and Child with Six Saints
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Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
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Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
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Madonna and Child
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Filippo Lippi - The three archangels and Tobias
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Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
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Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
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Beato Angelico - Madonna and Child
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Jacopo Robusti, detto Tintoretto - Trinity
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Jan van Eyck - Stigmata of St. Francis
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Jan Brueghel il Giovane - The vanity of human life
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Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
fullscreen
Orazio Gentileschi - Annunciation
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Sandro Botticelli - Venus
Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
Bernardino Lanino - Lamentation over the dead Christ
Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
Antoon van Dyck - The children of Charles I of England
Andrea Mantegna - Madonna and Child with Six Saints
Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
Madonna and Child
Filippo Lippi - The three archangels and Tobias
Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
Beato Angelico - Madonna and Child
Jacopo Robusti, detto Tintoretto - Trinity
Jan van Eyck - Stigmata of St. Francis
Jan Brueghel il Giovane - The vanity of human life
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
Orazio Gentileschi - Annunciation
Sandro Botticelli - Venus

Other works on display

Description

The work depicts the prodigal son kneeling on the stairs of his father's house asking forgiveness for the dissipation of the money he received as a gift. The canvas best represents the painter's early maturity. Guercino implements a synthesis between the compositional realism of Ludovico Carracci, the colorism of Ippolito Scarsella and the architectural inventions of Venetian ancestry. A certain knowledge of Caravaggio's painting can be seen both in the representation of the figure of the prodigal son and in the depiction of the servant behind the elderly father. In the first case, the reference seems to be the characters in the Madonna dei Pellegrini, a work by Merisi from 1604-1606 in S. Agostino in Rome. In the second case, however, the servant's dress refers to many characters painted by the master: for example, the boy in the Good Fortune of 1596-97, preserved in the Louvre. Guercino made The Prodigal Son in 1617 in Bologna for Archbishop Ludovisi. The good relations between Cardinal Maurizio and Ludovisi, even before he became pope in 1621, but since he was extraordinary nuncio to Savoy in 1616 to resolve the disputes between Carlo Emanuele I and Philip of Spain, regarding the dispute over the lands of Monferrato , may have been the link for the arrival of the canvas in Turin. This appears in fact in the inventory of the Savoyard collections since 1631.

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