Disciple of Carlo Maratta (Ancona 1625 - Rome 1713)
oil on canvas, cm. 95 x 74, framed cm. 114 x 91
Full details of the artwork:https://www.antichitacastelbarco.it/it/prodotto/l-annunciazione-bottega-maratta
This superb painting, characterized by an ethereal halo of sacredness, immortalizes the episode of the Annunciation in the foreground, capable of involving the viewer thanks to its direct and engaging devotional intensity.
The work shows a rather consolidated iconographic and stylistic scheme, where the Archangel Gabriel, on the right, offers the supreme announcement to the Virgin girl absorbed in her reading, while with one hand he points to the dove radiated with divine light, emblem of the Spirit Holy.
Certainly deserving of a more in-depth study, which specifically identifies its authorship, the canvas is to be assigned to the hand of a talented painter of Roman origin, and active in the early eighteenth century. Observing the stylistic characteristics and the definition of the details, as well as the compositional structure itself, we are inclined to bring its execution closer to the entourage of Carlo Maratta (Ancona 1625 - Rome 1713), one of the most illustrious exponents of seventeenth-century classicism, and presumably to a talented student of his thriving workshop.
The painting presents itself with a refined style, managing to calibrate the taste of classicism with a baroque without excesses, two contrasting trends but which thanks to Maratta began to reconcile with surprising results. His creations constituted an absolute reference model, a paradigm of a balanced but surprising pictorial style in every component (design, color, composition, iconography), making it an undisputed reference point of the Roman art scene, as well as a source of inspiration for the European classicism.
The work in question, while presenting a very independent illustrative character, recalls the emotional and pictorial qualities of the master, who conceived specific Marian iconographies distinguished by an ideal of idealized beauty: the face of the Virgin, for example, with her blissful smile on the face, and again the particular pose in which the angel is immortalized.
Finally, it is worth mentioning the preciousness of the pigments used, enlivened by the intense blue of lapis lazuli used to paint the Virgin's mantle, a typical pigment used by the Marattesca workshop to evoke her transcendence and, therefore, her divine nature.
The painting, whose excellent conditions offer us an optimal reading, denotes a precise brushstroke and of undoubted quality.
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Painting accompanied by a certificate of photographic authenticity in accordance with the law (FIMA)