TheAdorationofTheShepherds_TheMET (11)
‘The Adoration of the Shepherds with Saint Catherine of Alexandria’ Cigoli (Ludovico Cardi) Italian, Florentine, 1559-1613
Oil on canvas
Signed, dated, and inscribed: (lower right) LC [monogram] / 1599; (top, on banderole)
GLORIA IN EXCELSIS DEO
An artist of considerable intellectual accomplishment and a friend of Galileo, Cigoli was the key artist in Florence in the late sixteenth century. Like his contemporaries, Ludovico and Annibale Carracci in Bologna and Caravaggio in Rome, he rebelled against the then current Mannerist style, emphasizing the study of nature together with the work of the masters of the High Renaissance.
‘The Adoration of the Shepherds’ was painted at the height of Cigoli’s career and introduces into Florentine painting the emotional warmth of Barocci’s finest work, the fused color of the late Titian, and details taken directly from nature, such as the still life around the Christ Child and the rustic figures at the right.
Gwynne Andrews Fund, 1991 1991.7
From the Placard, Metropolitan Museum of Art
TheAdorationofTheShepherds_TheMET (11)
‘The Adoration of the Shepherds with Saint Catherine of Alexandria’ Cigoli (Ludovico Cardi) Italian, Florentine, 1559-1613
Oil on canvas
Signed, dated, and inscribed: (lower right) LC [monogram] / 1599; (top, on banderole)
GLORIA IN EXCELSIS DEO
An artist of considerable intellectual accomplishment and a friend of Galileo, Cigoli was the key artist in Florence in the late sixteenth century. Like his contemporaries, Ludovico and Annibale Carracci in Bologna and Caravaggio in Rome, he rebelled against the then current Mannerist style, emphasizing the study of nature together with the work of the masters of the High Renaissance.
‘The Adoration of the Shepherds’ was painted at the height of Cigoli’s career and introduces into Florentine painting the emotional warmth of Barocci’s finest work, the fused color of the late Titian, and details taken directly from nature, such as the still life around the Christ Child and the rustic figures at the right.
Gwynne Andrews Fund, 1991 1991.7
From the Placard, Metropolitan Museum of Art