17th Century, Veneto, Charity

17th Century, Veneto

Charity

Wood, cm 50 x 17

The work under examination constitutes a vibrant and complex representation of the Allegory of Charity (Caritas), the most eminent of the three theological virtues according to Christian tradition. It can be traced back to the Venetian school of the 17th century and fully embodies the expressive fervour and theatrical dynamism of Baroque art. The central figure is a mature and robust woman, a symbol of fertility and unconditional love, captured in the act of breastfeeding and caring for a multitude of cherubs. Her sensual pose, with her sinuous body stretched out and the voluminous draperies that envelop her lower part, contrasts with the emotional urgency of the children around her. The latter, arranged with great compositional variety –some clinging to the breast, others playful at its sides or carefully assisted– are not simple accessories, but essential elements that amplify the meaning of virtue: generous love and spiritual and material nourishment towards one's neighbor. The predilection for complex and pathos-rich wooden sculpture found fertile ground in the Veneto, culminating in the work of top-level artists. It is in this context of technical mastery and intense expressiveness that the influence of Andrea Brustolon (1660-1732), the great Belluno woodcarver, fits in. The sculpture shares its spirit and the skillful ability to infuse life and movement into the wooden material. The sculpture of Charity, with its crowding of figures and its energetic composition, is therefore a magnificent testimony to the Venetian sculptural tradition which, anticipating or alongside Brustolon's genius, was able to transform the theme of virtue into a powerful, sensual and profoundly human image.