Salvator Mundi with the Madonna in prayer, Titian painter (16th century – 17th century)

Oil on panel (51 x 67 cm. – With tabernacle frame 78 x 92 cm.)

We find ourselves faced with a rather rare iconography, which places in the same pictorial context the suggestive subject of Christ as 'Salvator Mundi' and that of the Virgin in prayer, portrayed in his presence.

The two characters, in the foreground, are depicted in a solemn and majestic manner, in symmetrically opposed positions establishing direct visual contact between them. We can also admire the organizational structure of the two subjects who, looking at each other, form a pyramid.

On the left we can glimpse the traditional model of the Salvator Mundi, half-length portrait, the right raised in the act of blessing and the left holding a sphere depicting the terrestrial globe surmounted by a cross, symbol of his universal power, the so-called globus cruciger.

In this case, unlike the formula most commonly used for this theme, Christ is shown slightly turned to the side, a position that to some extent avoids the traditional hieraticity of Byzantine heritage.

At his side is the Virgin, with her hands clasped in prayer, whose image reconciles the notable spiritual strength of Christ with a refined elegance, supported by the superb descriptive capacity of the face that stands out from the dark backdrop.

The charm of the painting is given by the expressiveness of both characters: no anguish or suffering transpires from their faces, but on the contrary the fixity of the gaze instills a profound spiritualism in the viewer.

The painting, of good quality, was created with excellent attention to anatomical details and a careful study of light and color. The bodies emerge from the dim light with notable plastic force, invaded by an incident light that lights up the colors of the clothes and illuminates the glow of the complexion with the features.

The work in question demonstrates a liveliness and executive speed that suggests it could be a Venetian or Lombard master, presumably active between the end of the 16th and the beginning of the 17th century, who grew up in Titian's environment or from whom he underwent a strong influence. It cannot be ruled out that he may be an author of foreign origins, presumably Flemish, although active in Italy.

Consider that Titian was the owner of a real company, whose members participated in the master's work in various ways, direct and indirect, finishing barely sketched canvases, replicating successful themes and compositions, multiplying the most sought after and requested subjects by clients, using already tested formulas and compositional schemes.

The painting is in a good state of conservation, restored.

Complete with gilded and temple-lacquered wooden frame, not antique.