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Beheading of the rhinoceros
Without title
Untitled
Without title
Without title
Indivisible quartet
Room for voices
Time, mistake, space
Without title
Yellow surface
River bed
A J L B
Without title
Checks. Tribute to Niepce
Amalfi box
Big Black Cretto
Basin
Without title
Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
Danae
Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
Madonna and Child with Angels
Crib group with the Nativity
Sant'Agata
Portrait of fra luca Pacioli with a pupil
Hercules at the crossroads
Apollo and Marsyas
Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor
Globe
Beheading of the rhinoceros
Without title
Untitled
Without title
Without title
Indivisible quartet
Room for voices
Time, mistake, space
Without title
Yellow surface
River bed
A J L B
Without title
Checks. Tribute to Niepce
Amalfi box
Big Black Cretto
Basin
Without title
Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
Danae
Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
Madonna and Child with Angels
Crib group with the Nativity
Sant'Agata
Portrait of fra luca Pacioli with a pupil
Hercules at the crossroads
Apollo and Marsyas
Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor

Sant'Agata

Francesco Guarino

Displayed in:

Capodimonte Museum and Real Wood

Capodimonte Museum and Real Wood

Via Miano, 2, Naples

Open now from 08:30 to 19:30

Verified profile

Coming from the Quarto del Prior of the Certosa di San Martino, it is an intense psychological portrait and one of the most widespread images of the Neapolitan seventeenth century. Often referred by critics to Massimo Stazione, it is instead by the hand of Guarino, who trained in Naples with the naturalists followers of Caravaggio, in particular Ribera and the first Stanzione. The canvas can be dated to around 1640: the strong chiaroscuro of the saint's face is indicative of the naturalistic training of the master, while a sentimental vein and a subtle sensuality deprive the composition of sacredness. Of great quality is the dress and the very white cloth stained with blood that covers her breast, just mutilated.
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Details

Title: Sant'Agata

Author: Francesco Guarino

Date: 1640

Technique: Oil painting on canvas

Displayed in: Capodimonte Museum and Real Wood

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