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Michelangelo Merisi, detto Caravaggio - Behold the man
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Antonio Canova - Penitent Magdalene
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Peter Paul Rubens - Venus and Mars
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Filippo Lippi - Saints Sebastian, John the Baptist and Francis
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Paolo Caliari, detto il Veronese - Susanna and the Elders
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Alessandro Magnasco, detto Lissandrino - Entertainment in a garden of Albaro
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Luca Cambiaso - Self-portrait of the painter in the act of painting the portrait of his father
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Domenico Piola - Cain and Abel
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Luca Cambiaso - Madonna of the candle
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Valerio Castello - Madonna of the veil
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Jan Wildens - Landscape with tree-lined avenue
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Hans Memling - Sorrowful Christ in the act of blessing
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Jan Roos - Still life of fruit, vegetables and flowers
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Francesco de Zurbaran - Sant’Orsola
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Orazio De Ferrari - Christ and the adulteress
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Antonio Travi, detto il Sestri - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - Behold the man
Antonio Canova - Penitent Magdalene
Peter Paul Rubens - Venus and Mars
Filippo Lippi - Saints Sebastian, John the Baptist and Francis
Paolo Caliari, detto il Veronese - Susanna and the Elders
Alessandro Magnasco, detto Lissandrino - Entertainment in a garden of Albaro
Luca Cambiaso - Self-portrait of the painter in the act of painting the portrait of his father
Domenico Piola - Cain and Abel
Luca Cambiaso - Madonna of the candle
Valerio Castello - Madonna of the veil
Jan Wildens - Landscape with tree-lined avenue
Hans Memling - Sorrowful Christ in the act of blessing
Jan Roos - Still life of fruit, vegetables and flowers
Francesco de Zurbaran - Sant’Orsola
Orazio De Ferrari - Christ and the adulteress
Antonio Travi, detto il Sestri - Adoration of the shepherds

Other works on display

Description

It is perhaps the best known painting by this Genoese artist, who ended his career in the service of Philip II of Spain, whose pictorial process, rather articulated, starts from a mannerist-style gigantism to arrive at an essential painting, made up of compositions almost geometric, the rigor of which is emphasized by shades limited in the range and tuned on the basis of simple chords. The cultural context that determined this "nocturnal" choice was its adherence to the more spiritual tendencies of the Catholic Reformation, while the domestic intonation, of great communicative impact, is aimed at promoting the sacred fact, hinging on the personal and intimate devotion of the client. . The painting (1570-1575) takes its title from the dim light of a candle that can be seen at the edge of the composition. In reality what highlights the delicate fold of Mary towards the nursing Child, the cradle that will soon welcome him as well as the gesture of Saint Anne who, having suspended the spinning, lovingly recommends silence to John and the profile of Joseph who, turned away, he is going to another room, leaving the women with the warm intimacy of this moment, he is a grazing, external, cold light. The figure of Jesus, on the other hand, is the only one that emerges completely from the half-light: his pearly flesh seems to shine with its own light, giving the humble and active scene a mystical atmosphere.

Other artworks in Genova

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