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Portrait of Charles II of Savoy known as the Good
Lamentation over the dead Christ
Madonna and Child
The children of Charles I of England
Madonna and Child with Six Saints
The archangel Gabriel and Tobias
Bas-relief with a garland of flowers and fruit
Madonna and Child
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Portrait of a young girl
Self portrait
Male head
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Fish album
Fish album
Bird album
Flower album
Red Cloud
Portrait of Charles II of Savoy known as the Good
Lamentation over the dead Christ
Madonna and Child
The children of Charles I of England
Madonna and Child with Six Saints
The archangel Gabriel and Tobias
Bas-relief with a garland of flowers and fruit
Madonna and Child
The three archangels and Tobias
the return of the prodigal son
Portrait of a Gentlewoman
Madonna and Child
Trinity
Stigmata of St. Francis
The vanity of human life
Portrait of an Old Man
Annunciation
Venus
Bust of Minerva
Bust - manly portrait
Psykter di Euthymides
Plate decorated with ribbons and nets
Canteen bowl
Ingot Blade Kit
Landscape relief known as of Polyphemus and Galatea
Colombine ointment
Signpost
Fibulae with disc bracket
Portrait of Carlo Emanuele I of Savoy
Madona with Child
Story of Aeneas and Dido
The family of Vittorio Amedeo di Savoia
Holy family with San Giovannino
The Sacra di San Michele
The thirst suffered by the first crusaders under Jerusalem
Table tureen
Rotisserie
Coffee cup
Kanjar (pug)
Japanese armor of the Do-Maru type
Parade plaque of Henry II of France
Corsaletto
Horse headboard
Portrait of a young girl
Self portrait
Male head
Naked young man next to an old oriental dress
Young man study
Pisces album
Fish album
Fish album
Bird album
Flower album

Madonna and Child

Anonymous

Displayed in:

Royal Museums Turin

Royal Museums Turin

Piazzetta Reale, 1, Turin

Closed now: open at 09:00

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It comes from the collection of Riccardo Gualino, but in the eighteenth century it belonged to the collection of Girolamo Crispi, archbishop of Ferrara. It is also known as the Madonna of the cherries, due to the two branches depicted above, hanging from the arch. Cherries (according to legend, the fruit originating from the city of Kerasus in the Black Sea, where the battle of the Romans against Mithridates took place in 71 BC, and from here brought home by General Lucullus with the Latin name of cerasea) take on with the Christianity has a strong symbolic meaning, as the color of their juice refers to the blood shed by Christ on the cross for human redemption. In addition to the Eucharistic connotation, in relation to the Marian subject, there is also an evident reference to maternal love and the instinct of resigned protection towards the Child by the Virgin aware of the ineluctable destiny. Some elements of the work such as the perspective view from below of the architectural aedicule, the expressiveness of the faces, the elongated shapes, the thin and tapered fingers of the Madonna, the sinuous headdress and the tortuous course of the hem of her mantle still in late Gothic style are characteristic motifs of the study that Leonello d'Este had built in the delight of Belfiore around the middle of the fifteenth century. The work can be traced back to the extraordinary cultural climate that developed in Ferrara starting from these years, finding significant stylistic comparisons with the youthful activity of Ercole de 'Roberti and with the fresco decoration of the cycle of the Months in Palazzo Schifanoia, in particular with the master active in the month of August who has proposed to identify with Gherardo di Andrea Fiorini of Vicenza, from whom Ercole was in the workshop. Inscription on the reverse "Opera / by Cosmo Turi others ... / called Gosmè / famous painter Ferrar ... / 15th century" Zoom inZoom inZoom outZoom outGo homeGo homeToggle full pageToggle full page
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Details

Title: Madonna and Child

Author: Anonymous

Date: 1470 ca.

Technique: Tempera on wood

Displayed in: Royal Museums Turin

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