Saint Genesius, Simone De Magistris (Caldarola, c. 1538 – 1613) or workshop

Simone De Magistris (Caldarola, c. 1538 – 1613) or workshop
San Genesio

Oil on canvas (84 x 62 cm. – In frame 99 x 76 cm.)

DETAILS OF THIS PAINTING (CLICK ON THE FOLLOWING LINK)

In the heart of ancient Rome, amid the pomp and Christian persecution of the Emperor Diocletian, the extraordinary story of Saint Genesius unfolds, one of the most fascinating figures in Christianity: a theater actor who, from the stage of pagan comedy, is inspired by God and transformed into a martyr, offering his life for his newly discovered faith.

Patron saint of actors and musicians, his figure is still relevant today, making us reflect on the redemptive power of faith, capable of converting even those who mock it.

The face of the young saint emerges from the darkness of the background with alabaster skin, framed by golden curls, and large expressive eyes that do not seek the viewer but are turned upwards, as if enraptured by a divine vision in a dreamy expression.

These elements, imbued with a strongly Mannerist style, reflect in every detail the pictorial characteristics of the eccentric Simone De Magistris (1538-1613), a painter who trained between Venice and Rome, with the examples of Lotto and Federico Zuccari.

Although a little-known artist, his style is easily recognizable, combining a visionary, dramatic, and highly expressive mannerism with the Marche tradition, with distinct Venetian and Tuscan influences. The figure of the Saint captivates the viewer with his magnetism, portrayed in a theatrical yet intimately spiritual guise, with an expression charged with pathos, almost caricatural, found in several of De Magistris's works, so unusual that it remains etched in the memory (see Madonna of the Rosary, in particular the face of Saint Catherine of Siena, source Fototeca Zeri: https://catalogo.fondazionezeri.unibo.it/scheda/opera/33754/ ).

Completing the iconography of the young martyr are his two unmistakable attributes: an ancient violin, which stands out for its anklet carved in the shape of a lion's head, an exquisite detail that recalls the strength of faith and the nobility of sacred art, and the palm frond (symbol of martyrdom) shaped like a bow.

Even the details of the saint's clothing are a triumph of Mannerist contrasts: he wears a light-colored tunic decorated across the chest with horizontal gold stripes, over which he wears a piece of metal armor on his shoulder. A sash of antique pink brocade crosses the torso diagonally, wrapping around the chest like a theatrical scarf, and then ties at the waist with a striking gold sash. The acid, bright, and iridescent tones of the fabrics—a direct legacy of Lorenzo Lotto's influence—vibrate vigorously against the black background, accentuating the composition's suspended atmosphere.

ADDITIONAL INFORMATION:

The work is complete with a pleasant gilded frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

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