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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

Neither the Virgin nor the infant Jesus look towards the viewer in Orazio Gentileschi’s painting: the whole scene is contained within the canvas, and the essence of the work lies in the interplay of glances and contacts between mother and son. The ritual solemnity pervading depictions of the Virgin and Child is absent: except for the golden edge of the halo, it might be taken for a secular subject, depicting a moment of family intimacy. This effect is also secured by the coloring, which rests on a dull ground of ochre and brown tones: the painting then kindles with light through the flesh tones of mother and child, as well as in the threefold division of pure colors (red, yellow and blue) in their garments. The naturalness of the scene and the effects of light, close to the aesthetic introduced by Caravaggio, bear witness to how deeply Gentileschi had grasped the innovative significance of the work of his Lombard colleague, whom he had direct contacts with in his years in Rome.

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