Offered by Codosero Galería de Arte Antiguo
Circle of Scipione Pulzone (Gaeta, 1544 - Rome, 1598).
Madonna and Child.
We are grateful for the invaluable help of Dr. Antonio Vannugli in cataloging this work.
It presents an 18th century frame.
54.5 x 48 cm; 63 x 58 cm (frame).
A look of tenderness between the Virgin and Child defines the intensity of the scene, in which the author dispenses with superfluous elements. Framing the characters against a neutral background that monumentalizes the figures and brings out the brilliance of the faces of the Virgin and Child. It is a work that follows the model of Gaetano from the end of the 16th century, of which several versions are preserved, one of them in the convent of San Carlo even Catinari in Rome. Antonio Vannugli confirms that the work is close to the original in terms of dates (very close) and painted by a painter from the Umbria or Le Marche area.
Sicipione Pulzone began his artistic training as a student of Jacopino del Conte, although he soon preferred to take personalities such as Girolamo Muziano or Siciolante as references of his art. His taste for descriptive effects led him to study Flemish and Venetian models, from which he extracted a rich palette of colors. However, it was in Raphael that he found his greatest influence reflected in the use of sharp contours and schematic clarity. His art is especially reminiscent of the earliest Raphael, the one that refers us to the style of a Perugino or a Domenico Ghirlandaio. That is why his art has a good part of revisionist, since his sources are not found in his immediate predecessors, but in the great masters of the last Quattrocento. In 1584 Pulzone traveled to Naples and Florence. In the latter city he came into contact with local artists of similar sensibilities to his own. Pulzone is the archetype of countermannerist art. He was primarily a portraitist and his works abide in a submissive way to the dictates of the Roman Church: he tries to convey simple emotions, within the reach of the simplest of viewers, with a didactic intention and sometimes, with an almost artisanal air, that prevails the art as a vehicle to transmit an idea, in this case of a religious type, rather than looking for beauty, the artist's brilliance or the assumption of artistic challenges.