Ludovico Carracci (Bologna, 21 aprile 1555 – Bologna, 13 novembre 1619)- Madonna col Bambino in trono e i Santi Domenico, Francesco, Chiara e Maria Maddalena. (Pala Bargellini) (1588)- olio su tela 282x188 cm - Galleria Nazionale di Bologna
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619)- Madonna and Child Enthroned with Saints Dominic, Francis, Clare and Mary Magdalene. (Pala Bargellini) (1588)- oil on canvas 282x188 cm - National Gallery of Bologna
La pala con la Madonna, il Bambino e i santi Francesco, Domenico, Maddalena è la prima opera firmata e datata di Ludovico Carracci, che la eseguì per conto della famiglia bolognese dei Bargellini.
La famiglia era legata al defunto papa, Gregorio XIII anch’egli bolognese, attraverso la parentela con la committente Cecilia Bargellini Boncompagni, qui rappresentata inginocchiata al centro, con le mani giunte, in veste di carmelitana.
L'opera originariamente si trovava sull’altare della cappella Boncompagni nella chiesa dei santi Filippo e Giacomo, in Via delle Lame, detta anche "delle convertite", dal nome dell'adiacente convento di suore carmelitane.
Maria, seduta su un alto trono, ornato dal dragone araldico della famiglia del papa, è rappresentata come un'umile regina dal volto florido e a piedi scalzi, mentre viene incoronata dagli angeli in volo; il punto di vista da sotto in su la rende tangibile e verosimile.
La Madonna accosta la guancia al Bambino e ci osserva con sguardo diretto, Gesù inquieto in grembo alla madre benedice, mentre, come in una festa, gli angeli cantano al suono dolce del liuto o spargono incenso e fiori.
I fedeli sono chiamati a partecipare all'evento, grazie alla continuità tra lo spazio dipinto e quello reale ottenuta tramite i gesti eloquenti dei santi.
San Francesco è concentrato nella profonda contemplazione della Madonna col Bambino, san Domenico, invece, si volge verso i fedeli e indica loro, con un gesto enfatico, la Madre e il Figlio
La Maddalena, figura della prostituta redenta per eccellenza, isolata sulla destra, sembra indicare alla sacra famiglia i penitenti in preghiera al di fuori dello spazio dipinto. La sua presenza è un chiaro richiamo alla funzione del convento come caritatevole asilo per prostitute pentite.
In questa stessa ottica si giustifica la presenza dell'acquasantiera e dell'aspersorio ai piedi della Vergine, chiari simboli di purificazione.
Nonostante la forte caratterizzazione umana dei santi come il volto scavato di san Francesco o lo sguardo risoluto di san Domenico, l'unico vero ritratto è quello dell'anziana committente Cecilia Bargellini Boncompagni, sul cui profilo il pittore non manca di registrare una piccola verruca sopra la bocca
I personaggi sacri si offrono all'osservatore nel modo più confidenziale e coinvolgente, sotto un portico che allude a quelli presenti in città, oltre il quale si levano familiari le torri di Bologna.
The altarpiece with the Madonna, Child and Saints Francis, Dominic and Magdalene is the first work signed and dated by Ludovico Carracci, who painted it on behalf of the Bolognese Bargellini family.
The family was linked to the late pope, Gregory XIII, also from Bologna, through the kinship with the client Cecilia Bargellini Boncompagni, represented here kneeling in the center, with folded hands, in the guise of a Carmelite.
The work was originally located on the altar of the Boncompagni chapel in the church of Saints Philip and James, in Via delle Lame, also known as "delle convertite", from the name of the adjacent convent of Carmelite nuns.
Mary, seated on a high throne, adorned with the heraldic dragon of the pope's family, is represented as a humble queen with a florid face and bare feet, while she is crowned by angels in flight; the point of view from below makes her tangible and realistic.
The Madonna brings her cheek close to the Child and observes us with a direct gaze, Jesus restless in his mother's lap blesses, while, as in a feast, the angels sing to the sweet sound of the lute or scatter incense and flowers.
The faithful are called to participate in the event, thanks to the continuity between the painted space and the real one obtained through the eloquent gestures of the saints.
St. Francis is concentrated in deep contemplation of the Madonna and Child, while St. Dominic turns toward the faithful and points to them, with an emphatic gesture, to the Mother and Son.
Magdalene, the figure of the redeemed prostitute par excellence, isolated on the right, seems to indicate to the sacred family the penitents praying outside the painted space. Her presence is a clear reference to the function of the convent as a charitable asylum for repentant prostitutes.
This same perspective justifies the presence of the stoup and aspergillum at the feet of the Virgin, clear symbols of purification.
Despite the strong human characterization of the saints, such as the hollow face of St. Francis or the resolute gaze of St. Dominic, the only real portrait is that of the elderly client Cecilia Bargellini Boncompagni, on whose profile the painter does not fail to record a small wart above the mouth.
The sacred characters offer themselves to the observer in the most confidential and involving way, under a portico that alludes to those present in the city, beyond which the towers of Bologna rise familiarly.
The altarpiece with the Madonna and Child with Saints Francis, Dominic and Magdalene is the first work signed and dated by Ludovico Carracci, who painted it on behalf of the Bargellini family of Bologna.
The family was linked to the late pope, Gregory XIII, also from Bologna, through the kinship with the client Cecilia Bargellini Boncompagni, represented here kneeling in the center, with folded hands, in the guise of a Carmelite.
The work was originally located on the altar of the Boncompagni chapel in the church of Saints Philip and James, in Via delle Lame, also known as "delle convertite", from the name of the adjacent convent of Carmelite nuns.
Mary, seated on a high throne, adorned with the heraldic dragon of the pope's family, is represented as a humble queen with a florid face and bare feet, while she is crowned by angels in flight; the point of view from below makes her tangible and realistic.
The Madonna brings her cheek close to the Child and observes us with a direct gaze, Jesus restless in his mother's lap blesses, while, as in a feast, the angels sing to the sweet sound of the lute or scatter incense and flowers.
The faithful are called to participate in the event, thanks to the continuity between the painted space and the real one obtained through the eloquent gestures of the saints.
St. Francis is concentrated in deep contemplation of the Madonna and Child, while St. Dominic turns toward the faithful and points to them, with an emphatic gesture, to the Mother and Son.
Magdalene, the figure of the redeemed prostitute par excellence, isolated on the right, seems to indicate to the sacred family the penitents praying outside the painted space. Her presence is a clear reference to the function of the convent as a charitable asylum for repentant prostitutes.
This same perspective justifies the presence of the stoup and aspergillum at the feet of the Virgin, clear symbols of purification.
Despite the strong human characterization of the saints, such as the hollow face of St. Francis or the resolute gaze of St. Dominic, the only real portrait is that of the elderly client Cecilia Bargellini Boncompagni, on whose profile the painter does not fail to record a small wart above the mouth.
The sacred personages offer themselves to the observer in the most confidential and involving way, under a portico that alludes to those present in the city, beyond which the towers of Bologna rise familiarly.
Ludovico Carracci (Bologna, 21 aprile 1555 – Bologna, 13 novembre 1619)- Madonna col Bambino in trono e i Santi Domenico, Francesco, Chiara e Maria Maddalena. (Pala Bargellini) (1588)- olio su tela 282x188 cm - Galleria Nazionale di Bologna
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619)- Madonna and Child Enthroned with Saints Dominic, Francis, Clare and Mary Magdalene. (Pala Bargellini) (1588)- oil on canvas 282x188 cm - National Gallery of Bologna
La pala con la Madonna, il Bambino e i santi Francesco, Domenico, Maddalena è la prima opera firmata e datata di Ludovico Carracci, che la eseguì per conto della famiglia bolognese dei Bargellini.
La famiglia era legata al defunto papa, Gregorio XIII anch’egli bolognese, attraverso la parentela con la committente Cecilia Bargellini Boncompagni, qui rappresentata inginocchiata al centro, con le mani giunte, in veste di carmelitana.
L'opera originariamente si trovava sull’altare della cappella Boncompagni nella chiesa dei santi Filippo e Giacomo, in Via delle Lame, detta anche "delle convertite", dal nome dell'adiacente convento di suore carmelitane.
Maria, seduta su un alto trono, ornato dal dragone araldico della famiglia del papa, è rappresentata come un'umile regina dal volto florido e a piedi scalzi, mentre viene incoronata dagli angeli in volo; il punto di vista da sotto in su la rende tangibile e verosimile.
La Madonna accosta la guancia al Bambino e ci osserva con sguardo diretto, Gesù inquieto in grembo alla madre benedice, mentre, come in una festa, gli angeli cantano al suono dolce del liuto o spargono incenso e fiori.
I fedeli sono chiamati a partecipare all'evento, grazie alla continuità tra lo spazio dipinto e quello reale ottenuta tramite i gesti eloquenti dei santi.
San Francesco è concentrato nella profonda contemplazione della Madonna col Bambino, san Domenico, invece, si volge verso i fedeli e indica loro, con un gesto enfatico, la Madre e il Figlio
La Maddalena, figura della prostituta redenta per eccellenza, isolata sulla destra, sembra indicare alla sacra famiglia i penitenti in preghiera al di fuori dello spazio dipinto. La sua presenza è un chiaro richiamo alla funzione del convento come caritatevole asilo per prostitute pentite.
In questa stessa ottica si giustifica la presenza dell'acquasantiera e dell'aspersorio ai piedi della Vergine, chiari simboli di purificazione.
Nonostante la forte caratterizzazione umana dei santi come il volto scavato di san Francesco o lo sguardo risoluto di san Domenico, l'unico vero ritratto è quello dell'anziana committente Cecilia Bargellini Boncompagni, sul cui profilo il pittore non manca di registrare una piccola verruca sopra la bocca
I personaggi sacri si offrono all'osservatore nel modo più confidenziale e coinvolgente, sotto un portico che allude a quelli presenti in città, oltre il quale si levano familiari le torri di Bologna.
The altarpiece with the Madonna, Child and Saints Francis, Dominic and Magdalene is the first work signed and dated by Ludovico Carracci, who painted it on behalf of the Bolognese Bargellini family.
The family was linked to the late pope, Gregory XIII, also from Bologna, through the kinship with the client Cecilia Bargellini Boncompagni, represented here kneeling in the center, with folded hands, in the guise of a Carmelite.
The work was originally located on the altar of the Boncompagni chapel in the church of Saints Philip and James, in Via delle Lame, also known as "delle convertite", from the name of the adjacent convent of Carmelite nuns.
Mary, seated on a high throne, adorned with the heraldic dragon of the pope's family, is represented as a humble queen with a florid face and bare feet, while she is crowned by angels in flight; the point of view from below makes her tangible and realistic.
The Madonna brings her cheek close to the Child and observes us with a direct gaze, Jesus restless in his mother's lap blesses, while, as in a feast, the angels sing to the sweet sound of the lute or scatter incense and flowers.
The faithful are called to participate in the event, thanks to the continuity between the painted space and the real one obtained through the eloquent gestures of the saints.
St. Francis is concentrated in deep contemplation of the Madonna and Child, while St. Dominic turns toward the faithful and points to them, with an emphatic gesture, to the Mother and Son.
Magdalene, the figure of the redeemed prostitute par excellence, isolated on the right, seems to indicate to the sacred family the penitents praying outside the painted space. Her presence is a clear reference to the function of the convent as a charitable asylum for repentant prostitutes.
This same perspective justifies the presence of the stoup and aspergillum at the feet of the Virgin, clear symbols of purification.
Despite the strong human characterization of the saints, such as the hollow face of St. Francis or the resolute gaze of St. Dominic, the only real portrait is that of the elderly client Cecilia Bargellini Boncompagni, on whose profile the painter does not fail to record a small wart above the mouth.
The sacred characters offer themselves to the observer in the most confidential and involving way, under a portico that alludes to those present in the city, beyond which the towers of Bologna rise familiarly.
The altarpiece with the Madonna and Child with Saints Francis, Dominic and Magdalene is the first work signed and dated by Ludovico Carracci, who painted it on behalf of the Bargellini family of Bologna.
The family was linked to the late pope, Gregory XIII, also from Bologna, through the kinship with the client Cecilia Bargellini Boncompagni, represented here kneeling in the center, with folded hands, in the guise of a Carmelite.
The work was originally located on the altar of the Boncompagni chapel in the church of Saints Philip and James, in Via delle Lame, also known as "delle convertite", from the name of the adjacent convent of Carmelite nuns.
Mary, seated on a high throne, adorned with the heraldic dragon of the pope's family, is represented as a humble queen with a florid face and bare feet, while she is crowned by angels in flight; the point of view from below makes her tangible and realistic.
The Madonna brings her cheek close to the Child and observes us with a direct gaze, Jesus restless in his mother's lap blesses, while, as in a feast, the angels sing to the sweet sound of the lute or scatter incense and flowers.
The faithful are called to participate in the event, thanks to the continuity between the painted space and the real one obtained through the eloquent gestures of the saints.
St. Francis is concentrated in deep contemplation of the Madonna and Child, while St. Dominic turns toward the faithful and points to them, with an emphatic gesture, to the Mother and Son.
Magdalene, the figure of the redeemed prostitute par excellence, isolated on the right, seems to indicate to the sacred family the penitents praying outside the painted space. Her presence is a clear reference to the function of the convent as a charitable asylum for repentant prostitutes.
This same perspective justifies the presence of the stoup and aspergillum at the feet of the Virgin, clear symbols of purification.
Despite the strong human characterization of the saints, such as the hollow face of St. Francis or the resolute gaze of St. Dominic, the only real portrait is that of the elderly client Cecilia Bargellini Boncompagni, on whose profile the painter does not fail to record a small wart above the mouth.
The sacred personages offer themselves to the observer in the most confidential and involving way, under a portico that alludes to those present in the city, beyond which the towers of Bologna rise familiarly.