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Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
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Bernardino Lanino - Lamentation over the dead Christ
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Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
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Antoon van Dyck - The children of Charles I of England
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Andrea Mantegna - Madonna and Child with Six Saints
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Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
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Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
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Madonna and Child
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Filippo Lippi - The three archangels and Tobias
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Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
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Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
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Beato Angelico - Madonna and Child
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Jacopo Robusti, detto Tintoretto - Trinity
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Jan van Eyck - Stigmata of St. Francis
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Jan Brueghel il Giovane - The vanity of human life
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Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
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Orazio Gentileschi - Annunciation
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Sandro Botticelli - Venus
Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
Bernardino Lanino - Lamentation over the dead Christ
Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
Antoon van Dyck - The children of Charles I of England
Andrea Mantegna - Madonna and Child with Six Saints
Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
Madonna and Child
Filippo Lippi - The three archangels and Tobias
Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
Beato Angelico - Madonna and Child
Jacopo Robusti, detto Tintoretto - Trinity
Jan van Eyck - Stigmata of St. Francis
Jan Brueghel il Giovane - The vanity of human life
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
Orazio Gentileschi - Annunciation
Sandro Botticelli - Venus

Other works on display

Description

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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