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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
fullscreen
Antoon van Dyck - The children of Charles I of England
fullscreen
Andrea Mantegna - Madonna and Child with Six Saints
fullscreen
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
fullscreen
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
fullscreen
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
fullscreen
Orazio Gentileschi - Annunciation
fullscreen
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

This Madonna painted by Beato Angelico looks like an oriental princess, seated on a red cushion embroidered with gold; covered by a blue cloak, lined with green and edged in gold, with soft and elegant folds, with a delicate gesture she holds the baby Jesus, who seems to be made of porcelain as much as she is, combed with curls in the fashion of the fifteenth century dandy. In this painting, which is the reworked central panel of a polyptych, Angelico blends two traditional but different ways of portraying the Virgin: the humility of Mary, seated on the ground, and her royalty, usually represented by a throne, in this case amplified by the architecture of a room that looks like an ancient temple, sumptuously furnished, illuminated from the front by gold - used in profusion, punched and graffitied -, in the background by natural light, which smears in through a window on the left. Here more than anywhere else, Angelico, who was a Dominican friar, his real name was Giovanni da Fiesole, tries to mediate between the most fashionable painting, which made extensive use of gold and ornamentation, and the luminous and perspective novelties of the Renaissance. .

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