The Guardian Angel, Alonso Cano (granada, 1601 – Granada, 1667)
Artist: Alonso Cano (grenade, 1601 – Grenade, 1667)
Alonso Cano
(Granada, 1601 – Granada, 1667)
The Guardian Angel
(The Archangel Raphael Showing the Way to Tobias)
Oil on canvas
114 x 73 cm. - Framed 127 x 86 cm.
Complete details of the work (click HERE)
The protagonist of our painting is the Archangel Raphael, depicted while protecting a child [1]: the meaning of this iconography, which spread primarily between the 16th and 17th centuries, has taken on a broader significance over time, eventually becoming the emblem of the guardian angel whose task is to protect every human being.
[1] In the ‘Book of Tobit,’ the angel Raphael was invoked by Tobit, a righteous and poor man, to accompany his son Tobiah on a journey; Raphael showed Tobiah the safest route and saved him more than once, without ever revealing himself as an angel, except at the end of the story.
The angel is depicted here in the customary form of a young man with delicate features, wearing a robe cinched at the waist and marked by ample drapery. The young boy, innocently frightened, turns his eyes toward the sky, where the light of divine grace appears through a break in the clouds.
The stylistic and figurative characteristics of the painting evoke echoes of 17th-century Spanish painting, distinguished by its refined style, capable of uniting the Baroque language—by definition opulent—with elements of classical influence.
In particular, observing its iconographic features and draftsmanship, a comparison to the style of Alonso Cano (1601–1667)—one of the most versatile and influential figures of Spain’s Siglo de Oro—seems apt: his work marks the transition from tenebrist realism to a more idealized and classical Baroque.
In particular, regarding the drawing, we can discern a clear derivation of our painting from an etching by Simone Cantarini (known as “il Pesarese”), titled Guardian Angel, created around 1640.
which our artist must have studied and reworked (see: “Simone Cantarini il Pesarese” by Mario Mancigotti, 1975, Banca Popolare Pesarese, page 201, see fig. 1).
Simone Cantarini was one of the greatest engravers of the Italian 17th century, and his prints enjoyed widespread circulation throughout Europe in the 17th century, profoundly influencing devotional painting in Spain. His etchings circulated in Spanish artistic centers such as Madrid and Seville, where they were copied or “translated” into paintings to meet the demand for sacred images in the classical style.
The influence of the Bolognese school on Spain’s Siglo de Oro was profound, fueled by the circulation of prints that served as veritable “style manuals” for Iberian painters; and in addition to Alonso Cano, many other Spanish masters looked to Bolognese classicism.
It is interesting to note that, while Cantarini’s print is distinguished by the lightness of its line and the influence of Guido Reni, our painting translates the model into a more sculptural and monumental form, with even primitive features, typical of Spanish Baroque.
Fig. 1 Guardian Angel, Simone Cantarini
c. 1640
From "Simone Cantarini il Pesarese" by Mario Mancigotti, 1975, Banca Popolare Pesarese, page 201
ADDITIONAL INFORMATION:
The painting is sold complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet.
We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers.
If you would like to view this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you!
Please contact us for any information or to arrange a visit; we will be happy to assist you.
Follow us on:
https://www.instagram.com/galleriacastelbarco/?hl=it
https://www.facebook.com/galleriacastelbarco/
(Granada, 1601 – Granada, 1667)
The Guardian Angel
(The Archangel Raphael Showing the Way to Tobias)
Oil on canvas
114 x 73 cm. - Framed 127 x 86 cm.
Complete details of the work (click HERE)
The protagonist of our painting is the Archangel Raphael, depicted while protecting a child [1]: the meaning of this iconography, which spread primarily between the 16th and 17th centuries, has taken on a broader significance over time, eventually becoming the emblem of the guardian angel whose task is to protect every human being.
[1] In the ‘Book of Tobit,’ the angel Raphael was invoked by Tobit, a righteous and poor man, to accompany his son Tobiah on a journey; Raphael showed Tobiah the safest route and saved him more than once, without ever revealing himself as an angel, except at the end of the story.
The angel is depicted here in the customary form of a young man with delicate features, wearing a robe cinched at the waist and marked by ample drapery. The young boy, innocently frightened, turns his eyes toward the sky, where the light of divine grace appears through a break in the clouds.
The stylistic and figurative characteristics of the painting evoke echoes of 17th-century Spanish painting, distinguished by its refined style, capable of uniting the Baroque language—by definition opulent—with elements of classical influence.
In particular, observing its iconographic features and draftsmanship, a comparison to the style of Alonso Cano (1601–1667)—one of the most versatile and influential figures of Spain’s Siglo de Oro—seems apt: his work marks the transition from tenebrist realism to a more idealized and classical Baroque.
In particular, regarding the drawing, we can discern a clear derivation of our painting from an etching by Simone Cantarini (known as “il Pesarese”), titled Guardian Angel, created around 1640.
which our artist must have studied and reworked (see: “Simone Cantarini il Pesarese” by Mario Mancigotti, 1975, Banca Popolare Pesarese, page 201, see fig. 1).
Simone Cantarini was one of the greatest engravers of the Italian 17th century, and his prints enjoyed widespread circulation throughout Europe in the 17th century, profoundly influencing devotional painting in Spain. His etchings circulated in Spanish artistic centers such as Madrid and Seville, where they were copied or “translated” into paintings to meet the demand for sacred images in the classical style.
The influence of the Bolognese school on Spain’s Siglo de Oro was profound, fueled by the circulation of prints that served as veritable “style manuals” for Iberian painters; and in addition to Alonso Cano, many other Spanish masters looked to Bolognese classicism.
It is interesting to note that, while Cantarini’s print is distinguished by the lightness of its line and the influence of Guido Reni, our painting translates the model into a more sculptural and monumental form, with even primitive features, typical of Spanish Baroque.
Fig. 1 Guardian Angel, Simone Cantarini
c. 1640
From "Simone Cantarini il Pesarese" by Mario Mancigotti, 1975, Banca Popolare Pesarese, page 201
ADDITIONAL INFORMATION:
The painting is sold complete with a beautiful gilded frame and comes with a certificate of authenticity and a descriptive iconographic sheet.
We handle and arrange the transport of purchased works, both within Italy and internationally, through professional and insured carriers.
If you would like to view this or other works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you!
Please contact us for any information or to arrange a visit; we will be happy to assist you.
Follow us on:
https://www.instagram.com/galleriacastelbarco/?hl=it
https://www.facebook.com/galleriacastelbarco/
9 800 €
Period: 17th century
Style: Louis 15th - Transition
Condition: Excellent condition
Material: Oil painting
Width: encadré 86 cm.
Height: encadré 127 cm.
Reference (ID): 1756924
Availability: In stock
Print
