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Jacopo Robusti, detto Tintoretto - The Fall of Phaethon
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Diego Rodríguez de Silva y Velázquez - Portrait of Francesco I d’Este
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Gian Lorenzo Bernini - Bust of Francesco I d’Este
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Prospero Clemente - Bust of Ercole II d'Este
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Domenico Galli - Cello
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Boy with thorn
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Annibale Carracci - Venus and Love
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Double Harp
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Giovanni Francesco Barbieri, detto Guercino - Venus, Mars and Cupid
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Guido Mazzoni - Head of an old man
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Antonio Raggi - Sacred Love defeating profane Love
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Pier Jacopo Alari Bonacolsi, detto l'Antico - The Gonzaga Vase
Jacopo Robusti, detto Tintoretto - The Fall of Phaethon
Diego Rodríguez de Silva y Velázquez - Portrait of Francesco I d’Este
Gian Lorenzo Bernini - Bust of Francesco I d’Este
Prospero Clemente - Bust of Ercole II d'Este
Domenico Galli - Cello
Boy with thorn
Annibale Carracci - Venus and Love
Double Harp
Giovanni Francesco Barbieri, detto Guercino - Venus, Mars and Cupid
Guido Mazzoni - Head of an old man
Antonio Raggi - Sacred Love defeating profane Love
Pier Jacopo Alari Bonacolsi, detto l'Antico - The Gonzaga Vase

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Description

Antonio Raggi (1624-1686) was one of the most valid and appreciated by contemporaries Gian Lorenzo Bernini's students. The work comes from the acquisitions of Francesco II d'Este and is indicative of the ability with which Raggi interpreted the baroque language of which his master had been one of the main coders. In this small sculptural group, reminiscent of the first essays by Bernini himself, there is indeed a playful reinterpretation of a theme dear to the figurative arts of the early Modern Age, such as the contrast between Sacred Love and Profane Love. The antithesis between Eros and Anteros is represented in a delightful way, portraying them as two puttini engaged in a fight simulation, all made at the same time extremely plausible thanks to the meticulous execution of the details.

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