{"product_id":"sconosciuto-cristo-redentore-con-mondo-in-mano","title":"Unknown - Salvator Mundi","description":"\u003cp\u003eThe subject of this painting is highly interesting due to its originality and rarity. Overall, it can be traced back to the iconographic model of the \"Salvator Mundi,\" a subject already quite unusual in Western painting, and it shares all its attributes. The \"Salvator Mundi,\" in fact, consists of a depiction of Christ, usually young, shown blessing with his right hand and holding, in his left, a globe, a symbol of universality. As mentioned earlier, there are few prototypes featuring this subject, the most famous of which is undoubtedly Leonardo's. The peculiarity of this painting lies in the artist's emphasis on Christ's youth, a truly unique and rare feature. In Leonardo's example, Christ is indeed young, but his face fits a canonical representation with a hint of beard and long, straight hair. In this painting, however, Jesus has the appearance of an adolescent, an elegant young man, completely beardless and with thick, wavy hair. A similar type of iconography can be found in Carlo Maratta's version of \"Salvator Mundi,\" in which Christ actually has the appearance of an infant.\u003c\/p\u003e\n\n\n \u003cp\u003eIn this work, conducting a stylistic and formal analysis, we can see how a classicist spirit prevails. It is undoubtedly a product of late-16th-century naturalism, which, aiming to correct the supposed errors of Mannerism, drew directly from the great masters of the late Renaissance. However, we can still detect aesthetic residues from the Mannerist era that make the representation even more fascinating, already in the originality of the subject, as well as in a certain artificiality in the facial features and a general predilection for elongated proportions (especially notable are the tapered hands). Yet, in the monumentality of the figure and its naturalness, we note a desire to fit into that classical, yet more austere and subdued, religious aesthetic typical of the late-16th and early-17th centuries. Formally, the pictorial workmanship is exceptional, with a soft, nuanced touch (particularly noticeable in the Leonardo-like mobility of the facial features) through which the subject blends seamlessly into the space, dramatically emerging from the dark background. The artist demonstrates his mastery of light to construct and enhance the subject's plasticity, in a painterly manner that already foreshadows Caravaggism.\u003c\/p\u003e\n\n\n \u003cp\u003eAs previously mentioned, the work is the product of an intimate, domestic religious atmosphere that can be identified with the cultural milieu typical of the Counter-Reformation era (late 16th-early 17th century). Formally, the work has a predominantly 17th-century character, with its dark background (reminiscent of Caravaggio's culture) and predominantly dark tones. The taste is somewhat archaic, with some fascinating Mannerist remnants, although overall, as we can deduce from the figure's monumentality and naturalness, the artist is an artist who operates within a classical climate.\u003c\/p\u003e","brand":"Murgia Francesco","offers":[{"title":"Default Title","offer_id":56218014253442,"sku":"Fmur004","price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/cristo_46db0424-6807-426c-add8-0ac7d9fadbef.jpg?v=1768470244","url":"https:\/\/cjfh11-ee.myshopify.com\/en\/products\/sconosciuto-cristo-redentore-con-mondo-in-mano","provider":"Venderequadri","version":"1.0","type":"link"}