Carlo Dolci (1616-1687), Circle of - Madonna Addolorata (Mater Dolorosa)

lot/carlo dolci 1616 1687 circle of madonna addolorata mater dolorosa CfnkQVN 633269301 / For sale

lot/carlo dolci 1616 1687 circle of madonna addolorata mater dolorosa CfnkQVN 633269301

For saleAuction results

lot/carlo dolci 1616 1687 circle of madonna addolorata mater dolorosa CfnkQVN 633269301

For saleAuction results

Bring your auction to collectors worldwide!

Get listed now

Carlo Dolci (1616-1687), Circle of - Madonna Addolorata (Mater Dolorosa)

Madonna Addolorata (Mater Dolorosa) Carlo Dolci (1616-1687) Scope of Period: circa 1750–1780 - Oil on canvas - Tuscan-Fiorentine scope in the second half of the XVIII century - Measurements: 85 x 71 cm in frame Painting: 73 x 60 cm The painting depicts the Vergine Addolorata (Our Lady of Sorrows), represented bust-length and isolated against a dark background. The head, slightly bowed, is wrapped in a wide mantle in blue-green tones; a golden halo emphasizes its sanctity. The face, characterized by a regular oval, lowered eyelids, a slender nose, and a small mouth, expresses a composed and interiorized suffering. The hands are gathered at chest height in a gesture of contemplation and acceptance. Diagonally across the composition runs a sword, a traditional iconographic attribute of the Mater Dolorosa and a reference to the prophecy pronounced by Simeon during the Presentation of Jesus at the Temple: “and a sword will pierce through your own soul also” (Luke 2:35). The presence of a single sword returns the representation to the most essential iconography of the Mater Dolorosa, focused on the spiritual participation of the Virgin in Christ’s Passion. stylistic analysis The stylistic setting draws on the famous Florentine Baroque model of the 17th century, and in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and later disseminated by his workshop, by the circle and by artists who continued his figurative fortune. The reference to Dolci’s culture is particularly legible in the conception of the face: the elongated oval, the lowered eyes, the absorbed expression, the small mouth, and the restrained suffering belong to that repertoire of intense religiosity and intimistic spirituality that constitutes one of the most recognizable elements of Dolci’s sacred production. Also the choice to almost entirely eliminate any narrative or environmental element, concentrating attention on the figure and its emotional state, belongs to the Florentine sixteenth-century devotional tradition. Condition report Support: canvas apparently stable; the verso shows a wooden support structure and a canvas with a regular weave. Paint layer: widespread and marked cracking, with varying pattern across the different fields. Irregularities and zones of greater material accumulation are present. Surface: shows irregularities, patina, and probable previous conservation interventions, overpaintings and retouches. Varnish: apparently altered and non-uniform in some areas; presence of old oxidized varnishes Overall state: fair, considering age, technique, and conservation history, with opportunity for expert control of the paint surface. Frame The work is set in a molded wooden frame with a marbleized imitation decoration in ochre and brown tones and a thin inner gilded profile. The frame shows abrasions, finish wear, small holes, corner cracks, and traces of ancient pest damage. The verso shows a wooden structure assembled according to traditional techniques, with a metal hanging system. Old frame, presumably from the 18th to 19th century *** Photographic note Some photographs of the work were taken with the aid of professional studio lighting and spotlights to enhance readability of the composition, details, and painting material. This lighting may cause slight variations in color perception and brightness compared with direct viewing of the work. The photographs are intended solely for illustrative and documentary purposes. The frame is provided free of charge as a courtesy with the work and should be considered an accessory element, not included in the painting’s monetary valuation. Due to the natural fragility of antique and gilded frames, any damage, detachment, breakage, or loss of parts of the frame occurring during transport or shipping cannot be subject to refund, compensation, or dispute regarding the value of the work. Packaging will, however, be prepared with the utmost care to ensure, as far as possible, safe transportation. Shipped insured Attribution Expertise *** For historical interest, the work cannot be shipped outside the European Community / insured shipping in a wooden crate

Estimate:£1,356.4

To the auction