Attributed to Girolamo da Treviso known as "The Elder" - Madonna and Child

The subject of the Madonna and Child is probably one of the most popular iconographies in the history of both Western and Eastern art. The Madonna and Child appears since the dawn of medieval painting and remained a constant subject as long as religious themes dominated artistic production (that is, until the 19th century, when themes inspired by everyday life began to be introduced). The present work offers an exquisitely 15th-century interpretation of the iconographic theme of the Madonna and Child, which exalts the divine and regal nature of the group.

The composition of this work, attributed to Girolamo da Treviso "the Elder," perfectly reflects the typology of Madonnas and Child from the early, 15th-century phase of Renaissance art, particularly from the Veneto region. The work's space is constructed on a rigorous orthogonal perspective, as can be seen from the convergence toward the central vanishing point of the throne. The rational and mathematical nature of 15th-century humanism is expressed in this type of ideal construction, while the pursuit of naturalism in the representation of the figures draws inspiration from classical art. This gives the Madonna and Child a solemn and courtly appearance, with a highly sculptural definition of the figures. The sculptural exaltation of the figures is typical of the Veneto region and of that archaeology (which particularly characterized the Paduan school) also found in masters such as Andrea Mantegna and Carlo Crivelli. Formally, the group's execution is impeccable, with an idealized naturalistic rendering that reflects the distinctive features of the Humanist Renaissance. Even in the characters' expressions, simultaneously serene and solemn, we discern the same cultural climate.

The work has been attributed to Girolamo da Treviso the Elder (Treviso 1451-1497). A provincial figure compared to the more significant painting styles of Andrea Mantegna, Jacopo Bellini, and Antonello da Messina, he displayed independent and original characteristics. Some doubts and uncertainties still surround his figure and persona, but over the course of the 20th century, art critics increasingly considered the identification of Girolamo da Treviso with Girolamo Strazzaroli, brother of the poet Alvise, known by his pen name Ludovico Pontico, credible. If in an initial artistic phase Girolamo da Treviso the Elder showed Venetian and Paduan influences, as in the San Girolamo created in the convent of the Eremitani in Padua (1470), in the Pietà of the Tadini Academy of Lovere and in the Dormitio Virginis, in a later period, in his works, Venetian and Murano tastes and styles took over,

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