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Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647)."Saint Rosalia of Palermo".Oil on canvas.
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Beschreibung
Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647).
"Saint Rosalia of Palermo".
Oil on canvas. Re-coloured.
Size: 114 x 76 cm.
A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.
In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
"Saint Rosalia of Palermo".
Oil on canvas. Re-coloured.
Size: 114 x 76 cm.
A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.
In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
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Circle of PIETRO NOVELLI (Monreale, 1603-Palermo, 1647).
"Saint Rosalia of Palermo".
Oil on canvas. Re-coloured.
Size: 114 x 76 cm.
A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.
In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
"Saint Rosalia of Palermo".
Oil on canvas. Re-coloured.
Size: 114 x 76 cm.
A still life placed in the foreground and formed by an open book and a skull, indicates us the subject of the represented scene. On this Vanitas, kneeling and with a pious gesture is the woman mentioned in the book Santa Rosalia. She is comforted by the figure of the Virgin and Jesus, who surround her and in the case of the Virgin even consoles her with his arms. In front of the saint, the figure of Christ is shown as a vision of resurrection. Standing, dressed in a voluminous red cloak, Jesus stretches out his hands towards the saint, showing her the wounds on his hands. The heavenly area is dominated by the presence of God the Father, in the centre, the dove of the Holy Spirit on the left, and on the right, three little loves, one of whom holds a floral garland with which he approaches to crown Saint Rosalie. Rosalia of Palermo was a 12th-century Italian saint whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that devastated her native Sicily. Patron saint of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing blonde hair, wearing a Franciscan hood or a crown of flowers and leaning towards the city of Palermo in her peril.
In this particular case, the features of Saint Rosalia and the execution of the work bring us closer to the painting of Pietro Novelli, who dedicated several of his works to the saint, notably the one in the collection of the Kunsthistorisches Museum in Vienna and the piece in the San Fernando School of Fine Arts. Pietro Novelli, of Italian origin, achieved great fame as a painter, although he also devoted himself to architecture and was appointed architect to the kingdom. His training was linked to his father's workshop, who was also a painter. His links with Palermo, a place to which he travelled frequently, indicate that he probably attended the school of Vito Carrera. Furthermore, the presence of Van Dyck and the stylistic influence of the master that can be seen in Novelli's painting reinforces the idea that he trained in Palermo.
10th March - Old Masters from America and Europe
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