Giulio Carpioni (Venice 1613 – Vicenza 1678) – Madonna with Child between Saints Giuseppe, Francesco, Domenico and Antonio da Padova.

Giulio Carpioni (Venice 1613 – Vicenza 1678) – Madonna with Child between Saints Giuseppe, Francesco, Domenico and Antonio da Padova.

61 cm x 37,5 cm.

Oil on canvas, without frame.

Bibliography: GM Pilo, Giulio Carpioni, all the paintings, Alfieri Editore, 1961.

Giulio Carpioni is one of the leading figures of the 17th-century Venetian Baroque. He trained in Venice in Padovanino's workshop, where he learned the chromatic lessons of the great 16th-century tradition. A subsequent stay in Rome introduced him to the classicism that would decisively shape his entire output. Having settled in Vicenza, he became the favorite painter of a cultured and demanding clientele, active both in the city's churches and for the private devotions of the patricians of Vicenza and Venice.
His style is recognizable for the composure of his figures, the classically inspired quality of his drawing, and a sober, luminous palette in which tonal values ​​prevail over bright colors. His compositions, always balanced, envelop his figures in a rarefied atmosphere that distinguishes Carpioni from his more exuberant contemporaries of the Venetian Baroque.

The arched altarpiece depicts the Madonna and Child in a central, elevated position, surrounded by Saints Joseph, Francis, Dominic, and Anthony of Padua. The format and meticulous execution indicate a work conceived for private devotion, a genre in which the master achieved particularly high quality results. The composition weaves a dense web of references to the autograph work: the figure of Saint Joseph in profile mirrors that of Saint Vitus in the altarpiece of Saints Felice and Fortunato in Vicenza, while the posture of Saint Anthony and the kneeling Saint Joseph offering a flower precisely match similar figures in the altarpiece formerly in Vicenza Cathedral, now in the Gallerie dell'Accademia. The intimate atmosphere, the ethereal rendering of the figures, and the controlled palette clearly indicate the canvas is from Carpioni's full maturity.

Condition report: Lined canvas. Good state of conservation of the pictorial surface.

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