19th century, by Benvenuto Tisi da Garofalo, known as Il Garofalo (Canaro or Garofalo, 1476 or 1481 - Ferrara, 1559)

19th century, by Benvenuto Tisi da Garofalo, known as Il Garofalo (Canaro or Garofalo, 1476 or 1481 - Ferrara, 1559)

Madonna in glory with the Child

Oil on canvas, cm 82 x 80

With frame, cm 92 x 92

The work, dated around the mid-nineteenth century, is a brilliant reinterpretation of the stylistic iconography of one of the masterpieces by Benvenuto Tisi, called Il Garofalo, la Madonna con il bambino in gloria dei Musei Capitolini. The work of Garofalo, attributable to the mature phase of its production - there are clear influences related to the visual culture Raffaellese and, in general, Roman - is dated around 1525. This presents the Virgin with the Divin son surrounded by a choir of angels musicians: at the feet of the Madonna, suspended on a soft blanket of clouds with a light pink undertone, in the sixteenth-century painting of Tisi, opens a landscape of great charm, within which the presence of a pair of friars is recorded. The artist who, in the nineteenth century, reinterprets this subject chooses to focus solely on the performance of the central group, that with the Virgin and Child Jesus: in this way, it emphasizes the intimistic dimension of the image, Emphasizing the sweetness and depth of the mother-child relationship. In the nineteenth century there was a great interest on the part of artists and scholars for the painting of the Renaissance of Ferrara: many are the authors who look with interest to the paintings by Mazzolino, Dosso Dossi, Ortolano and Garofalo; among these is the Faentine Tommaso Minardi (Faenza, 1787 - Rome, 1871), artist who during the first years of his stay in Rome made some studies and oil paintings taken from the famous works of the masters of the Ferrarese Renaissance exhibited in museums and churches of the eternal city.Born in Veneto, probably between Carnaro and Garofalo, near Rovigo, it seems that Tisi was apprentice of Domenico Panetti from 1491. In 1495 he worked in Cremona under the direction of Boccaccio Boccaccino, who introduced him to the Venetian chromatic style, which became a key factor in his juvenile paintings. In 1500 he made his first trip to Rome, at a time when it was customary for northern Italian artists to make a formative trip to the eternal city. In 1501 he moved to Bologna where he stayed for two years at the workshop of Lorenzo Costa il Vecchio, a painter of great renown who worked for the Este and Gonzaga families. In 1504 he returned to Ferrara and worked with the Dossi brothers. Between 1503 and 1506 he received several commissions particularly significant in the Ferrara area: he frescoed, for example, the ceiling of the Sala del Tesoro in the Palazzo Costabili in Ferrara, inspired by Mantegna’s Camera degli Sposi. In 1512 he made a second trip to Rome, at the invitation of his fellow countryman Girolamo Sacrati, to the court of Pope Julius II, where he met Raphael. This encounter influenced his style, which changed from Lombard to classical and close to the influences of Sanzio and Giulio Romano. Around 1512 he returned again to Ferrara where he worked on numerous works for the duke Alfonso d'Este. Between the '20s and the '40s, Tisi was engaged in various commissions for the Este and in the realization of numerous altarpieces for the city of Ferrara. Benvenuto Tisi died in 1559 and was buried in the Ferrara basilica of Santa Maria in Vado in the locus built a few years ago next to that of his wife, who had died earlier. In 1829 his remains were transferred to the cemetery of the Certosa di Ferrara, where in 1841 a monument will be dedicated to him in the Cella degli Uomini Illustri, by the sculptor Angelo Conti.

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