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Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
fullscreen
Bernardino Lanino - Lamentation over the dead Christ
fullscreen
Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
fullscreen
Antoon van Dyck - The children of Charles I of England
fullscreen
Andrea Mantegna - Madonna and Child with Six Saints
fullscreen
Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
fullscreen
Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
fullscreen
Madonna and Child
fullscreen
Filippo Lippi - The three archangels and Tobias
fullscreen
Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
fullscreen
Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
fullscreen
Beato Angelico - Madonna and Child
fullscreen
Jacopo Robusti, detto Tintoretto - Trinity
fullscreen
Jan van Eyck - Stigmata of St. Francis
fullscreen
Jan Brueghel il Giovane - The vanity of human life
fullscreen
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
fullscreen
Orazio Gentileschi - Annunciation
fullscreen
Sandro Botticelli - Venus
Defendente Ferrari - Portrait of Charles II of Savoy known as the Good
Bernardino Lanino - Lamentation over the dead Christ
Giorgio Chiulinovich, detto Lo Schiavone - Madonna and Child
Antoon van Dyck - The children of Charles I of England
Andrea Mantegna - Madonna and Child with Six Saints
Piero Benci, detto il Pollaiolo - The archangel Gabriel and Tobias
Pieter Verbruggen il Vecchio - Bas-relief with a garland of flowers and fruit
Madonna and Child
Filippo Lippi - The three archangels and Tobias
Giovanni Francesco Barbieri, detto Guercino - the return of the prodigal son
Agnolo di Cosimo, detto il Bronzino - Portrait of a Gentlewoman
Beato Angelico - Madonna and Child
Jacopo Robusti, detto Tintoretto - Trinity
Jan van Eyck - Stigmata of St. Francis
Jan Brueghel il Giovane - The vanity of human life
Rembrandt Harmenszoon van Rijn, detto Rembrandt - Portrait of an Old Man
Orazio Gentileschi - Annunciation
Sandro Botticelli - Venus

Other works on display

Description

Gentileschi painted this Annunciation during his stay in Genoa and sent it to Turin in 1623. In Rome the artist had had the opportunity to weave Caravaggio's creative path: in this painting he proved it with a striking quote from the painter's Death of the Virgin Lombard today in the Louvre, the sumptuously draped red curtain. However the light is warm, daytime, the drama is muffled, as almost always in Gentileschi's paintings. The Pisan painter sent the altarpiece to Duke Carlo Emanuele I, enclosing a letter in which he recalled the other services rendered to the family, probably alluding to the youthful Madonna in Glory and the Holy Trinity, originally intended to decorate the church of Monte dei Cappuccini and now in the collections of the Civic Museum of Ancient Art of Turin; In that correspondence, reference is also made to a painting depicting Lot and his daughters, long remembered in the Savoy inventories and pointed out by visitors and connoisseurs as one of the pearls of the collection of the House of Savoy. In this gesture by Gentileschi, not only the awareness of the quality of his work is evident, but also the ambition to place himself at the exclusive service of a court, a role that would have guaranteed him an economic position and social confirmation. Even the choice of the subject is to be considered carefully studied, since the Savoy family boasted the chivalric order of the Annunziata. While accepting the gift, the duke did not take this opportunity, and Gentileschi's career was projected towards the North, first Paris, and finally London.

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