Description
'Master of the Parrot' (Painter active in Antwerp in the early 16th century, whose name refers to the parrot that always recurs in his Marian paintings) – follower of
Madonna enthroned with Child
(With coat of arms of the client family in the upper part of the composition)
Oil on the table
The beautiful work proposed illustrates the typical iconographic characteristics of the painter called 'Master of the Parrot', a conventional name used by critics to define an anonymous Dutch author of the 16th century.
More precisely, he is a painter from the southern Netherlands, active in Antwerp around 1530-50, so defined because of the unmistakable parrot that often appears in his works. In religious iconography the parrot has often been used as a Marian symbol, as it was widely believed that its most common verse was "Ave", that is, the greeting of the archangel Gabriel to Mary at the moment of the Annunciation.
Today the idea is widespread according to which the denomination 'Parrot Master' does not refer to a single painter, but rather to a group who, based on stylistic characteristics, carried out their training in the workshop of Pieter Coecke van Aelst (Aalst 1502 – Brussels 1550), creating devotional paintings intended for bourgeois clients and concentrating their activity on a specific topic particularly requested by the contemporary market.
As an example we can mention the Virgin and Child of the San Diego Museum of Art where the figures, like ours, are in line with the mannerist taste for elegant body proportions that surpass reality, with elements such as tapered fingers, broad face and thin nose. These characteristics also betray the influence of artists active in the region such as Joos van Cleve, Ambrosius Benson and Jan Gossaert, from whose works he must necessarily have taken inspiration.
As we can clearly see from our painting, executed by a talented follower commissioned by the family whose noble coat of arms is placed in the upper part, the works of these artists were characterized by the unmistakable reception of Italian Renaissance painting, particularly visible in the way in which the the child is in his mother's lap and again in the compositional choice of inserting a glimpse of the landscape visible through a window. Even the nuance technique, reminiscent of Leonardo, attests to the lasting Italian influence in these works.
The state of conservation of the table is good, perfectly restored; there is a slight crack, visible in the lower part of the canvas in conjunction with the edge of the table, stabilized, and which has a minimal impact on the reading of the work.
It has an ancient, professionally done flooring.
The painting is completed with a pleasant golden frame.
It is our duty to warn you that, given the delicacy of some particular antique frames, there is the possibility that small damages to the gilding may occur during transport, despite the packaging being carried out with the utmost care.
ADDITIONAL INFORMATION:
The work is sold accompanied by a certificate of authenticity and descriptive iconographic card.
We take care of and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.
It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works.
Contact us, without obligation, for any additional information.
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