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Michelangelo Merisi, detto Caravaggio - St. John Baptist
fullscreen
Giambattista Piazzetta - Judith and Holofernes
fullscreen
Orazio Gentileschi - Madonna with child
fullscreen
Peter Paul Rubens - San Sebastiano cured by the angels
fullscreen
Antoon van Dyck - Madonna of the straw
fullscreen
Guido Reni - Salome with the head of the Baptist
fullscreen
Christian Berentz - The elegant snack
fullscreen
Corsini throne
fullscreen
Jusepe de Ribera - Venus reaches dying Adonis
fullscreen
Luca Giordano - Dispute of Jesus among the doctors
fullscreen
Salvator Rosa - The torture of Prometheus
fullscreen
Jusepe de Ribera - Denial of Peter
fullscreen
Bartolomé Esteban Murillo - Madonna of the milk
fullscreen
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
fullscreen
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
fullscreen
Hans Hoffmann - The hare
fullscreen
Giovanni da Milano - Polyptych with Madonna and Child with Saints
fullscreen
Mattia Preti - The tribute of the currency
fullscreen
Jacopo Bassano - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - St. John Baptist
Giambattista Piazzetta - Judith and Holofernes
Orazio Gentileschi - Madonna with child
Peter Paul Rubens - San Sebastiano cured by the angels
Antoon van Dyck - Madonna of the straw
Guido Reni - Salome with the head of the Baptist
Christian Berentz - The elegant snack
Corsini throne
Jusepe de Ribera - Venus reaches dying Adonis
Luca Giordano - Dispute of Jesus among the doctors
Salvator Rosa - The torture of Prometheus
Jusepe de Ribera - Denial of Peter
Bartolomé Esteban Murillo - Madonna of the milk
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
Hans Hoffmann - The hare
Giovanni da Milano - Polyptych with Madonna and Child with Saints
Mattia Preti - The tribute of the currency
Jacopo Bassano - Adoration of the shepherds

Other works on display

Description

The work, donated to Cardinal Lorenzo Corsini, caused scholars to discuss for a long time: it was not clear whether the three tablets were conceived by Beato Angelico as a unitary work or if they had been readapted and put together later. Doubts arose due to the unusual combination of the three depicted episodes - Ascension, Last Judgment, Pentecost - and due to an erroneous reading of a Corsini inventory, according to which the tablets were donated separately and then assembled. Recent studies have instead denied both the latter hypothesis and the alleged incongruity of the three episodes: this association is also found in other works and is motivated by thematic and doctrinal connections. The recent restoration has made it possible to recover the bright colors and the great wealth of details, typical of the Florentine artist's production. Next to these, the calm expressiveness of the faces and the geometric setting of the scenes should be noted: in the Judgment, for example, the two groups of redeemed and damned crowd respectively to the left and to the right of a row of tombs open in the ground which, together with the Christ the Judge divide the painted panel exactly in half.

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