Madonna and Child, two angels and John the Baptist, School of Antonio Allegri, known as Correggio (Correggio c. 1489 – 1534)

School of Antonio Allegri, known as Correggio (Correggio c. 1489 – 1534)
Attributable to Pomponio Allegri (Correggio, 1522 – Parma, 1593)
Madonna and Child, two angels and John the Baptist

Oil on panel, cm. 92 x 69, in frame cm. 119 x 96

Complete details of the work (link): https://www.antichitacastelbarco.it/it/lavoro/madonna-col-bambino–due-angeli-e-san-giovanni-allegri​

The work, whose format leads us to hypothesize that it was intended for domestic devotion, illustrates a pleasant testimony of Emilian art of the mid-sixteenth century, with clear references to the school of Antonio Allegri, known as Correggio (Correggio c. 1489 – therein 1534 ), undisputed master for the great elegance of his creations, perfectly calibrated between chromatic finesse and dynamic effect, obtained thanks to the concatenation of gestures and glances.
Bringing Leonardo da Vinci's lesson to the extreme, he managed to grasp the most authentic link between the various figures, and furthermore, by virtue of the expressive sweetness of his characters and the wide use of perspective, he established himself in the Po Valley as the most modern and daring bearer of the ideals of the Renaissance.
As we can also see in our beautiful table, he contrasted the explosion of Venetian color and Roman mannerism with a fluid, luminous style of strong emotional involvement.
Deepening the stylistic analysis, it is easy to place the authorship in the hands of Pomponio Allegri; the setting of the figure of the Virgin in particular, with her head slightly reclined, her lowered gaze and the pose of her body recall, pay homage to, almost copying her, the Madonna of the Milk of Budapest created by her father.
The composition, extremely refined, sees the Madonna sitting with the Child supported on her knees, and is enriched by the presence of a pair of angels, one holding a branch full of cherries in his hands and the other offering a part of them to the child, fruits alluding to the Original Sin, by virtue of the red color of the blood of the Passion. Finally, behind, on the right, there is a young Saint John the Baptist, already with his typical attributes of a hermit in the desert, namely the camel fur and the staff with the cross.
A detail of pure poetry is the view that we can glimpse on the right, treated with a vigor and a spirit of modernity rare for the time, characterized by brilliant colors and clear light, allowing a glimpse of a village and an evocative perched castle.
Pomponio's production is very detailed, since in his works we can see amalgamated both the formal research and linearism of the last Parma mannerists and, above all, the distinctly classical stylistic features close to the art of his father, Antonio Allegri known as Correggio (Correggio c. 1489 – therein 1534).
He trained in his father's workshop and was his pupil, albeit for a very short time, demonstrate the clear adherence to the taste and style of the master and the fidelity to his compositional and typological modules, which testify to the dependence of Pomponio's art on that of Correggio.
Pomponio's first works date back to around the middle of the century and the frescoes for the Corpus Domini chapel in the church of San Quirino in Correggio date back to 1546. In 1555 we then know that he was in Reggio Emilia where he stayed until his definitive transfer to Parma in 1559, enjoying considerable success with local clients.
In the panel, which we can place at the painter's full maturity, we note that the typology of the Virgin responds to a peculiar model of his production, characterized by a massive corporeality and, as we have already anticipated, an iconographic conception typical of Correggio.
Even the representational scheme proposed in the painting refers to the graceful compositions of his father: the characters, characterized by a rigid and restrained gesture, are arranged according to a diagonal pattern interrupted by the figure of Mary, firm and immobile in her still rather centralized position.

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