17th century, Emilian school, Putto with rose

17th century, Emilian school 

Putto with rose

Oil on canvas, 43,5 x 32 cm

With frame 45 x 32,5 cm

The figure of the putto, when equipped with specific attributes, lends itself to multiple iconological meanings. The present holds a delicate flower and at the same time gaily observes the viewer, spreading its soft wings. A tender light illuminates his features, defining the volumes of the composition. This implies an elusive allegory of love, of which the putto is the preferential representative, and the crystalline flower, which recalls both a rose and a peony, places emphasis both on the temporality of the feeling and on the joy it brings. Even the open wings of the little putto, in addition to elongating the figure through a slight dynamism, underline the immanence of the loving feeling, all-encompassing at a single time. The uncontaminated nature of the rose also interested the Christian world in the figurative arts, identifying with it the figure of the Virgin, known as the "Rose without thorns". In the pagan world the flower was linked in particular to the goddess Venus, but the subsequent medieval reflection on it gave rise to multiple symbolic nuances, linked, as mentioned before, to time, love, truth and innocence.  

The particular pinkish base, matching the specific amber skin of the child, allows us to recognize an Emilian executive sphere, underlined, in his advanced age, by the happy parable of Felice Fortunato Biggi (1680-1750), who proposed a similar Putto with flowers, today in private collection from Brescia, in the 1612th century, testifying to the territorial appreciation of the subject. Simone Cantarini (1648-1628) re-proposed through technical virtuosity the same softness of complexion in the figure of Jesus with the painting Madonna with Child and Saint Charles, now preserved in the Pallavicini Gallery in Rome; defined by Luigi Lanzi as "a great self-esteemer, despiser of everyone else", the artist quickly became Guido Reni's most capable pupil, importing the Emilian manner into the Marche region. Evident stylistic similarities can also be attributed to the work of Carlo Cignani (1719-XNUMX), another Bolognese, in particular in the curtain-holding putti of San Michele leading the Sipontini to victory and of the Apparition of San Michele frescoed in the Bolognese church of San Michele in Woods.

The object is in good condition

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