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Galleria Corsini verified

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Giambattista Piazzetta - Judith and Holofernes
fullscreen
Christian Berentz - The Elegant Snack
fullscreen
Corsini Throne
fullscreen
Orazio Gentileschi - Madonna and Child
fullscreen
Guido Reni - Salome holding the head of John the Baptist
fullscreen
Jusepe de Ribera - Venus and Adonis
fullscreen
Peter Paul Rubens - Saint Sebastian Healed by Angels
fullscreen
Luca Giordano - Christ among the Doctors
fullscreen
Michelangelo Merisi, detto Caravaggio - Saint John the Baptist
fullscreen
Salvator Rosa - The Torture of Prometheus
fullscreen
Jusepe de Ribera - The Denial of Saint Peter
fullscreen
Bartolomé Esteban Murillo - The nursing Madonna
fullscreen
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
fullscreen
Rosalba Carriera - Allegory of the Four Elements - Water, Air, Earth and Fire
fullscreen
Hans Hoffmann - The hare
fullscreen
Giovanni da Milano - Madonna and Child with Saints
fullscreen
Antoon van Dyck - Madonna of the Straw
fullscreen
Mattia Preti - The Tribute Money
fullscreen
Jacopo Bassano - Adoration of the Shepherds
Giambattista Piazzetta - Judith and Holofernes
Christian Berentz - The Elegant Snack
Corsini Throne
Orazio Gentileschi - Madonna and Child
Guido Reni - Salome holding the head of John the Baptist
Jusepe de Ribera - Venus and Adonis
Peter Paul Rubens - Saint Sebastian Healed by Angels
Luca Giordano - Christ among the Doctors
Michelangelo Merisi, detto Caravaggio - Saint John the Baptist
Salvator Rosa - The Torture of Prometheus
Jusepe de Ribera - The Denial of Saint Peter
Bartolomé Esteban Murillo - The nursing Madonna
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the Four Elements - Water, Air, Earth and Fire
Hans Hoffmann - The hare
Giovanni da Milano - Madonna and Child with Saints
Antoon van Dyck - Madonna of the Straw
Mattia Preti - The Tribute Money
Jacopo Bassano - Adoration of the Shepherds

Other works on display

Description

The episode of the adoration of the shepherds, who hurry to Bethlehem after angels announce the birth of Christ, is related in the Gospel of Luke. Bassano deals with the theme by respecting the tradition while introducing innovations. Archaeological ruins form the setting, a frequent element in the Italian iconography of the Nativity. Here we see a row of shattered columns set on a tall pedestal, on the model of Greek temples, with a hut resting against them. The unusual architectural structure symbolizes that paganism has been transcended and the Christian church established, with the birth of Jesus as its cornerstone. The painting dates from the 1560s, when Bassano began to darken his coloring . The garments worn by the Virgin, Joseph and the shepherds all have enameled tones, yet the landscape is covered by a nocturnal atmosphere. What is particularly striking is the almost disrespectfully humble shepherds, reflecting the spirit of the Gospel, which represents the last in the social hierarchy as being the first to adore the Messiah. The shepherds occupy the center of the scene, and if we ignore for a moment the left-hand side of the painting, we might be viewing a rural genre painting. The shepherd with his back turned to us is kneeling, revealing his bare feet, a reminder of his extreme humbleness, and holding a lamb, the sacrificial animal par excellence, an allusion to the future Passion of Christ. On the far right, there is a curious insert: a young boy crouching and blowing on a glowing ember, in the effort to kindle a flame, now made vain by the powerful light of divine revelation. The figure would later circulate widely as an independent genre scene.

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