Exploring the Artistic Evolution of Virgin Imagery in Baroque Art
We see a very bright light (Verona), resulting in silvery fabric (robe of the Virgin). Verona also results in the orange robes that we see in the apostle in the foreground who is kneeling, and yellow with a greyish-blue cold dish that is a highly foreshortened figure. Strong foreshortening in the foreground gives depth. From there, up and diagonal lines lead to a Virgin.
Correggio, Allegory of Virtue, 1532-34: We have to replace the tomb with the figure of virtue; then we have a seated figure that shows a foot. There is no relationship between the burst of glory and the lower part: Correggio leaves appear gloria but joins the two parts (rebirth).
Appearance of the Virgin to San Lucas and Santa Catalina, A. Carracci, 1592: Lucas appears with his command (run, Santa Catalina), and after the burst of glory of the Virgin accompanied by the four evangelists. It is a picture of vast dimensions, signed and dated. You will be commissioned in 1589 by the association of notaries for the chapel in the cathedral of Reggio Emilia. Bellori said that it had to be taken out of the chapel which had been intended because the paint had been dark and brought to the choir. It’s dark because all the top has that golden light that creates a dark shadow (Correggio). It uses mainly red, losing light in the dark area. That serves as landscape lighting center, with a very clear light and cold in contrast to the rest of the picture. There are the sacred conversations: Virgin and Child saints. We have three figures in full swing with strong foreshortening that have generated an internal movement throughout the composition, of San Mateo, Catherine, and the Virgin. Movement of gestures and looks that make us turn without stopping. This is the proper motion of Baroque; we must also see what the point of view of the table is: the saint looks down on what we should be down and forces us to rise to the Virgin who looks at the Apostle that opens its arms to teach us the miracle of there. They came back to the saint. Movement from the outside in and inside the table continuum. The figure of Luke is a common figure, a man dressed in his robe, strong; however, Santa Catalina has a delicate face (Barocci), and then the Virgin in a grueling contraposto. Look for a cloth and open movement of the whole body. The light gives differently depending on the area: male figures in the robes we see light because it is a fabric envelope that sticks to the body without folding (if there are glimpses folded). We see Lucas’s robe with silver tones in the folds, silvery in the red of the Virgin and Santa Catalina’s sleeves; that way, the artist highlights three strikes that draw our attention to these figures. Very sketched figures.
Precedents:
Rafael, the Madonna of Foligno, 1512, sacred conversation. Time when Rafael began to acquire mannerist features: he breaks the equilateral triangle we saw in his Florentine period Virgin. Arriving in Rome, he began to enter the mannerism, and his Virgin, instead of being frontal, shows that instability that breaks the symmetry of the equilateral triangle. The child (Mannerism) goes up and down; Michelangelo depicts a child (chubby legs, muscular). The important thing is the instability.
The Virgin and Child is the axis, and the patron saints are on the sides with the donor. Absolute symmetry. The background is a curtain where the light is moonlight: the angels are blank, allowing the figures to be drawn and are much sharper. At the same time, what they are charged to the Romans, with a lack of tone color, dark area lit area. Sample some figures to join others, but always down.
Titian, Madonna in Glory with Saints Francis and Alvise and donor, 1520: Instability becomes more pronounced. The Virgin is more human. Introduced by him, the Madonna is a woman sitting on a cloud that goes in one direction. More spontaneous movement. Extremely violent contrasts between light and shadow, to be a light golden tone that becomes more intense and violent.
Christ in the Glory and Santos, A. Carracci, 1597-1598: This work is related to the great protector from 1994 to 2005, Cardinal Farnese Odoardo, brother of Ranuccio, both sons of Alexander Farnese. Odoardo, at 91 years, was made a cardinal; he moved to Rome and settled in the Palazzo Farnese. The palace had been completed, but not its decor. He called the Carracci, who had previously worked with Parma. The figure of the donor is part of that sacred conversation. He appears with the cardinal’s red cape and is protected by St. Edward, and before him is St. Hermenegildo. Behind is Santa Catalina, who is always shown. The composition is the same as the previous ones. Division between the two parties, figures in the foreground, monumental, well drawn but with a chromatic tonal range, and you are working in Rome. Follow with these shades a little white. In the background, it reminds us of the sunset skies of Correggio. It was placed in the Vatican. We used to mark the vanishing point of the composition, also following the geometric composition of the Renaissance. The game also plays with light. We will be alternating zones of light and shadow, based on this alternation leading us to the final focus, introducing characters, houses, and we also make a difference ratio of the images as we move away. At the top, we see the figure of Jesus conceived as unstable, with one leg shorter than the other, to appear foreshortened, as well as those of St. Peter and St. John the Baptist.
ยท Painting Mythological style indefinitely. Years later, in 1590, the frescoes in the Palazzo Magnani, Bologna, where the three are still working on stories of Romulus and Remus. Note the room that will take place in Venice from 1987 to 1988.