Roman School, 17th century, Virgin with Child and Angel

Roman School, 17th century

Virgin with Child and Angel

Oil on canvas, 27 x 20 cm

Frame 42 x 35,5 cm

The canvas in question depicts the Madonna and Child with an angel gazing reverently at the Baby Jesus. The scene is interwoven with a subtle interplay of glances: the little angel is presumably observing her Son, while he returns her gaze with interest. The Virgin reaches out toward the basket full of fruit at her feet. The presence of the little angel with fruit could clarify the figurative scene: assuming it isn't simply an offering to the newborn, the artist may have been referring to an episode from the apocryphal gospels according to which, during the flight into Egypt, angels arrived from Heaven to give the family rest. Music, dates, and various fruits would have brightened the fatigue of the journey.
This painting may be linked to a 17th-century Roman painter, well acquainted with the works of Simon Vouet (Paris, January 9, 1590 – Paris, June 30, 1649), considering that the painting is based on a composition by the French master now preserved at the Musée des Beaux-Arts in Caen. The sacred image, suitable for private devotion, most likely spread through prints circulating from workshop to workshop, as demonstrated by the engraving preserved at the Capodimonte Museum; our image, which appears reversed compared to the original, was therefore taken from a print.
Simon Vouet was a painter and draughtsman who helped introduce the Italian Baroque to French painters. Vouet's new style was distinctly Italian, reflecting his years of study in Italy, between 1613 and 1627, spent primarily in Rome, when the Baroque was in its infancy. He also visited Venice, Genoa, Naples, and Bologna, where the Carracci were active. Vouet was an academic, studying and absorbing everything around him, distilling it, including the dramatic light of Caravaggio, the colors of Veronese, and the art of the Carracci, Guercino, and Guido Reni. He was a well-known and respected artist, honored as president of the Roman Accademia di San Luca, and summoned to France by Louis XII.
In Paris, Vouet was a fresh and dominant force, painting public altarpieces and allegorical decorations for private clients. His studio formed an entire school of French painters, the generation that followed him, and through him the French Baroque took on a classicizing tone from the outset. Among them were several French Baroque artists, such as Philippe de Champaigne, Nicolas Poussin, and especially Charles le Brun, his most important pupil.

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