Oil On Panel. Holy Family With Saint Anna And Urban Landscape Epoch 500

The pleasant table that we present, depicting the Holy Family with Saint Anna (on the left) is a reworking in more popular terms and certainly less observant than the acribia of the anatomical detail of famous compositional antecedents of Raphael (Madonna of the pearl) and Giulio Romano (Madonna of the cat).. More similar to the second model than the first, our painting revisits simplifying the traditional pyramid scheme, eliminating the figure of Saint Giovannino, but, given interesting, enhancing the architectural element through the insertion of the scene in an urban landscape of fine workmanship, where it is possible to recognize a bridge (perhaps the scaliger bridge of Verona) with a tower (that of Castelvecchio?).. The greater horizontality in the geometric arrangement of the scene and a more intense and relaxed chromatism compared to the model of Giulio Romano, trace the coordinates of an original imprinting, able to space connecting to the notes Madonnas with Children of Fra Bartolomeo, all retranslated in less lyrical terms, certainly marked by an abandonment of the formal Platonism of the painter evoked with greater concessions to realism, sometimes paroxysmal for the remembered traits populizing, which affect all characters, from Saint Anne to the Child to Saint Joseph with the partial exception of the Virgin Mary, marked in all its sacredness by the blue colors (which recalls the sky, the transcendent, the purity) and the red (from the Christological value, as a symbolic prefiguration of the passion of Christ). In the antinomic coexistence of human and divine, daily and eternal, form and matter, a message far from marginaleincarna the presence of the cat, located on the left of the scene, at the feet of Saint 'Anna and facing the Virgin, almost in pose of alterity thus representing the daily life of evil (of which the animal as in' icastica Annunciation of the Lotto is traditionally symbol) cel