Carlo Dolci (1616-1687), Circle of - Madonna Addolorata (Mater Dolorosa)

Madonna Addolorata (Mater Dolorosa) Carlo Dolci (1616-1687) Ambito di Periodo: circa 1750–1780 - Oil on canvas - Tuscan-Fiorentine ambit of the second half of the XVIII century - Measurements: 85 x 71 cm in frame Painting: 73 x 60 cm The painting depicts the Virgin of Sorrows, represented bust-length and isolated against a dark background. The head, slightly inclined, is veiled by a wide mantle in blue-green tones; a golden halo underscores her sacredness. The face, characterized by a regular oval, lowered eyelids, a thin nose and a small mouth, expresses a composed and interiorized suffering. The hands are gathered at chest height in a gesture of contemplation and acceptance. Diagonally across the composition runs a sword, a traditional iconographic attribute of the Mater Dolorosa and a reference to the prophecy pronounced by Simeon during the Presentation of Jesus at the Temple: “and a sword shall pierce your own soul” (Luke 2:35). The presence of a single sword brings the representation back to the most essential iconography of the Mater Dolorosa, focused on the Virgin’s spiritual participation in Christ’s Passion. Stylistic analysis The stylistic setting echoes the celebrated Florentine Baroque model of the XVII century, and in particular the devotional compositions elaborated by Carlo Dolci (Florence, 1616–1686) and subsequently disseminated by his workshop, by the circle and by the artists who continued his figurative fortune. The reference to Dolcian culture is particularly legible in the conception of the face: the elongated oval, lowered eyes, absorbed expression, the small mouth and the attitude of restrained suffering belong to that repertoire of intense, intimate religiosity that is one of the most recognizable elements of Dolci’s sacred production. Even the choice to eliminate almost completely any narrative or environmental element, concentrating attention on the figure and its emotional state, belongs to the Florentine sixteenth-century devotional tradition. Condition report Support: canvas apparently stable; the reverse shows a wooden support structure and a canvas with a regular weave. Paint film: widespread and marked craquelure, with variable patterning across the different fields. There are irregularities and zones of greater material accumulation. Surface: shows unevenness, patina and probable previous conservation interventions, overpainting and retouching. Varnish: apparently altered and uneven in some areas; presence of old oxidized varnishes Overall state: fair, considering period, technique and conservation history, with opportunity for specialist inspection of the paint film. Frame The work is housed in a molded wooden frame with decoration imitating marbling in ochre and brown tones and a thin inner golden profile. The frame shows abrasions, finish wear, small holes, cracks at the corners and traces of antique insect attacks. The reverse shows a wooden structure assembled according to traditional techniques, with a metal hanging system. ancient frame, presumably from the XVIII–XIX century *** Photographic note Some photographs of the work were taken using professional studio lighting and spotlights to allow better readability of the composition, details and painting material. This lighting may cause slight variations in color perception and brightness compared with viewing the work directly. The photographs are for illustrative and documentary purposes only. The frame is provided free of charge and as a gift with the work and must therefore be considered an accessory element, not included in the economic valuation of the painting. Given the natural fragility of antique and gilded frames, any damage, detachment, breakage or loss of parts of the frame occurring during transport or shipping cannot be the subject of reimbursement, indemnity or dispute regarding the value of the work. The packaging will, however, be prepared with maximum care to ensure, as far as possible, safe transport. insured shipping Attribute Expertise *** For historical interest the work cannot be shipped outside the European Community / insured shipping in a wooden crate

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