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Jesi, Marche, Italy open Visit museumarrow_right_alt

fullscreen
Tobias and the Angel
fullscreen
Giovanni Francesco Barbieri, detto Guercino - Savior of the world
fullscreen
Antonio Mercurio Amorosi - Concertino by villani
fullscreen
Antonio Mercurio Amorosi - The card game
fullscreen
Carlo Cignani - The five senses
fullscreen
Raffaellino del Colle - Madonna of Loreto with the SS. Filippo and Giacomo
fullscreen
Head of an Old Man
fullscreen
Giorgio Vasari - Christ Carrying the Cross
fullscreen
Nino Caffè - Woman with fan
fullscreen
Annunciation
fullscreen
Francesco Bassano - Genre scene with female works
fullscreen
Giovanni Fazi - Portrait of a young peasant woman
Tobias and the Angel
Giovanni Francesco Barbieri, detto Guercino - Savior of the world
Antonio Mercurio Amorosi - Concertino by villani
Antonio Mercurio Amorosi - The card game
Carlo Cignani - The five senses
Raffaellino del Colle - Madonna of Loreto with the SS. Filippo and Giacomo
Head of an Old Man
Giorgio Vasari - Christ Carrying the Cross
Nino Caffè - Woman with fan
Annunciation
Francesco Bassano - Genre scene with female works
Giovanni Fazi - Portrait of a young peasant woman

Other works on display

Description

As is well known, Giorgio Vasari was the first art historian, remembered above all as the author of the lives of the most excellent painters, sculptors and architects in which he traces the profile of Italian artists from the Middle Ages to Michelangelo, considered the apex of everyone's art. times. The Lives had to change the literature of the sector forever and start the history of art as we understand it today.

As a painter Vasari is the leading exponent of Tuscan Mannerism of the mid-1500s in which grace is the aesthetic ideal of reference, a masterful blend of naturalistic verisimilitude and intellectual quality of beauty.

The picture presented here shows all the elements of Mannerist and Vasari compositional syntax in particular: diagonal cuts, shortened figures, anatomical elongations, acid colors. The figures taken from the half-length become habitual, trespassing into the spectator's space and appearing at the margins of the pictorial space. They are mechanisms of involvement that are enriched with direction solutions aimed at provoking the direct involvement of the spectator. The dramatic action develops through the very close shot, the attention to detail, the contrast between the dignity of Christ and the shame of the cross, the suffering face and the elegance of the pink robe.


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