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Modena, Emilia-Romagna, Italy closed Visit museumarrow_right_alt

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Francesco Bianchi Ferrari - Saint Jerome in the desert
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Giovanni Francesco Barbieri, detto Guercino - Apollo and Marsyas
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Cristoforo Canozi de Lendinara - Adoration of the Child with San Bernardino - the Eternal Father blessing
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Ludovico Lana - San Sebastiano curated by Irene
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Giovanni Battista Benvenuti, detto l'Ortolano - The Madonna and Child, San Giovannino and Santa Scolastica
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Bartolomeo Passarotti - Peasant playing the lute
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Girolamo Sellari, detto Girolamo da Carpi - The Crucifixion
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Luca Ferrari - Sant'Andrea
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Girolamo Sellari, detto Girolamo da Carpi - Santa Cecilia
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Giovanni Andrea Sirani - Neptune receives tulip bulbs from Earth
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Alessandro Tiarini - Rinaldo and Armida
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Gaspare Venturini - Allegory of the Good Government
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Jacopo Zanguidi, detto il Bertoja - St. Peter and St. Paul. Stories from their life
Francesco Bianchi Ferrari - Saint Jerome in the desert
Giovanni Francesco Barbieri, detto Guercino - Apollo and Marsyas
Cristoforo Canozi de Lendinara - Adoration of the Child with San Bernardino - the Eternal Father blessing
Ludovico Lana - San Sebastiano curated by Irene
Giovanni Battista Benvenuti, detto l'Ortolano - The Madonna and Child, San Giovannino and Santa Scolastica
Bartolomeo Passarotti - Peasant playing the lute
Girolamo Sellari, detto Girolamo da Carpi - The Crucifixion
Luca Ferrari - Sant'Andrea
Girolamo Sellari, detto Girolamo da Carpi - Santa Cecilia
Giovanni Andrea Sirani - Neptune receives tulip bulbs from Earth
Alessandro Tiarini - Rinaldo and Armida
Gaspare Venturini - Allegory of the Good Government
Jacopo Zanguidi, detto il Bertoja - St. Peter and St. Paul. Stories from their life

Other works on display

Description

The reference to Christopher in this precious altarpiece, complete with the original frame, is based on the comparison with the inlays and with the large fresco with the Last Judgment in the cathedral of Modena. Massimo among the wooden masters in Emilia, is documented from 1449 to 1453 in relation to the decoration of Leonello d’Este's study in the Belfiore palace in Ferrara and all his subsequent activity testifies to his relationship with Piero della Francesca. Compared to the exasperated geometrization of the only pictorial work linked with certainty to its name, the Madonna of the column signed and dated 1482 (Modena, Galleria Estense), in this altar the clear forms of Tuscan perspective rationalism are imbued with a soft light that comes from from the bottom and expands into the gentle hilly landscape sliding on the faces of the characters identified in a naturalistic way.

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