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LOT 1:
Bottega Antonelliana
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Start price:
€
40,000
Buyer's Premium: 25%
More details
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Sant'Anna, the Madonna and the child, Late 15th century/early 16th century
Oil painting on panel
100cm x 117cm
Prof. Strinati's report present. The table in question shows the figure of Saint Anna, majestic in her royalty, with the Virgin Mary of more modest dimensions, supported on her mother's left knee. The baby Jesus, placed in the central part of the composition, while demonstrating a certain formal rigidity, demonstrates greater dynamism conferred by the innocence of those movements which make him in the image and likeness of every other man, but with the arduous task of the destiny of the humanity. The advent child is conceived here as a creature aware of the harsh destiny that awaits him; in fact, he is represented with a swollen belly, a prefiguration of martyrdom on the cross.
Within the composition, the attempt to introduce the three figures into a space defined by the geometry of the throne, placed frontally in the scene and decorated, along the central area, by a tapestry with plant motifs is clear. In the midst of this royal seat, the figures of Saint Anne stand out, composing a single sculptural block, powerful and with an eloquent expression; the Virgin Mary, delicately supported by her maternal tapered fingers and, in the centre, the Savior, with his gaze turned to the mother of the Virgin.
Some stylistic references, such as the paper mantle of Saint Anne, the woody restitution of the fingers of the hand, allow us to assign the panel to the production of a workshop in the Messina area - certainly imbued with stylistic features post-antonelleschi – in a chronological arc that oscillates between the eighth/ninth decade of the fifteenth century and the first years of the following century.
For the reasons put in place the painting can be assigned to an unknown master of Antonelli's workshop, active between 1479 and 1530.
ASORstudio
Prof. Strinati's report present. The table in question shows the figure of Saint Anna, majestic in her royalty, with the Virgin Mary of more modest dimensions, supported on her mother's left knee. The baby Jesus, placed in the central part of the composition, while demonstrating a certain formal rigidity, demonstrates greater dynamism conferred by the innocence of those movements which make him in the image and likeness of every other man, but with the arduous task of the destiny of the humanity. The advent child is conceived here as a creature aware of the harsh destiny that awaits him; in fact, he is represented with a swollen belly, a prefiguration of martyrdom on the cross.
Within the composition, the attempt to introduce the three figures into a space defined by the geometry of the throne, placed frontally in the scene and decorated, along the central area, by a tapestry with plant motifs is clear. In the midst of this royal seat, the figures of Saint Anne stand out, composing a single sculptural block, powerful and with an eloquent expression; the Virgin Mary, delicately supported by her maternal tapered fingers and, in the centre, the Savior, with his gaze turned to the mother of the Virgin.
Some stylistic references, such as the paper mantle of Saint Anne, the woody restitution of the fingers of the hand, allow us to assign the panel to the production of a workshop in the Messina area - certainly imbued with stylistic features post-antonelleschi – in a chronological arc that oscillates between the eighth/ninth decade of the fifteenth century and the first years of the following century.
For the reasons put in place the painting can be assigned to an unknown master of Antonelli's workshop, active between 1479 and 1530.
ASORstudio
