A three-quarter length depiction of Agnes of Rome shows the saint in direct communication with God. Her head is slightly raised, her mouth half open, and the fingers of her hand are spread open over her heart while with her other hand she caresses the Mystic Lamb. Her neckline shifts sideways to reveal part of her shoulder, the highest degree of eroticism in the work of Stanzione.[1]
In attributing this painting to Stanzione, José Milicua offers comparisons between this painting and another portrayal of the same saint by Stanzione which belonged to the Laliccia Collection in Naples which makes use of the same model and is differentiated only by a slight turn of the model's head. In both paintings, Stanzione has dispensed with the halo and palm leaf, omissions that are common in Neapolitan painting of the 1600s. Although lacking the traditional external signs of sainthood, her status as one of God's elect is evidenced in the raised head and upturned eyes, an open mouth, and the hand with fingers spread over the heart. The block of stone closing off a corner of the composition is a device commonly used in Neapolitan painting of this century. However, in the case of Saint Agnes, the stone block also serves to represent the altar on which the Agnus Dei, or sacrificial lamb is placed.[2]
Stuck to the back of the canvas are some lines of poetry in English in praise of Saint Agnes, cut from printed matter which looks like it might be from the nineteenth century or earlier.[2]
Referencesedit
^ abMuseu Nacional d'Art de Catalunya: Guide, Barcelona: MNAC, 2005, P. 180-181
^ abcdCaravaggio i la pintura realista europea / comissari José Milicua; coordinació científica María Margarita Cuyás. Barcelona: MNAC, 2005. Traducció a l'anglès p. 431-433
^Caravaggio i la pintura realista europea / comissari José Milicua; coordinació científica María Margarita Cuyás. Barcelona: MNAC, 2005. Bibliography
Further readingedit
L´esplendor de la pintura del barroc: mecenatge català al Museu Nacional d'Art de Catalunya: Museu Nacional d'Art de Cataluyna, maig de 1996 / Maria Margarita Cuyàs. Barcelona: Museu Nacional d'Art de Cataluyna, 1996 p. 96-97 (English translation, pages 180-186)
Massimo Stanzione: L´Opera completa, Nàpolis by S. Schütze, 1992 p. 208
External linksedit
Museu Nacional d'Art de Catalunya - Saint Agnes
Google Art Project - Saint Agnes 1635-1640
January 01, 1970
saint, agnes, massimo, stanzione, saint, agnes, canvas, painting, executed, 1635, 1640, italian, baroque, painter, massimo, stanzione, national, museum, catalonia, saint, agnesartistmassimo, stanzioneyear1635, 1640typepaintingmediumoil, canvasdimensions83, loc. Saint Agnes is an oil on canvas painting executed c 1635 1640 by the Italian Baroque painter Massimo Stanzione It is now in the National Art Museum of Catalonia Saint AgnesArtistMassimo StanzioneYear1635 1640TypePaintingMediumOil on canvasDimensions83 5 cm 75 cm 32 9 in 29 5 in LocationMuseu Nacional d Art de Catalunya BarcelonaAccessionSantiago Espona Bequest 1858 Contents 1 Description 2 History 2 1 Exposition catalogue listings 3 3 Analysis 4 References 5 Further reading 6 External linksDescription editA three quarter length depiction of Agnes of Rome shows the saint in direct communication with God Her head is slightly raised her mouth half open and the fingers of her hand are spread open over her heart while with her other hand she caresses the Mystic Lamb Her neckline shifts sideways to reveal part of her shoulder the highest degree of eroticism in the work of Stanzione 1 History editThe work was attributed to Massimo Stanzione Frattamaggiore 1585 Naples 1656 in 1954 by Jose Milicua 1 who viewed it in the collection of Tomas Harris at that time 2 The work made its way to the collection of Santiago Espona who bequested it to the Museu Nacional d Art de Catalunya in November 1958 2 Exposition catalogue listings 3 edit 1958 Barcelona p 11 Cat 78 1963 Barcelona P 16 1987 Girona p 48 Cat 46 1989 Barcelona p 49 Cat 46 1998 Palma p 114 Cat 32Analysis editIn attributing this painting to Stanzione Jose Milicua offers comparisons between this painting and another portrayal of the same saint by Stanzione which belonged to the Laliccia Collection in Naples which makes use of the same model and is differentiated only by a slight turn of the model s head In both paintings Stanzione has dispensed with the halo and palm leaf omissions that are common in Neapolitan painting of the 1600s Although lacking the traditional external signs of sainthood her status as one of God s elect is evidenced in the raised head and upturned eyes an open mouth and the hand with fingers spread over the heart The block of stone closing off a corner of the composition is a device commonly used in Neapolitan painting of this century However in the case of Saint Agnes the stone block also serves to represent the altar on which the Agnus Dei or sacrificial lamb is placed 2 Stuck to the back of the canvas are some lines of poetry in English in praise of Saint Agnes cut from printed matter which looks like it might be from the nineteenth century or earlier 2 References edit a b Museu Nacional d Art de Catalunya Guide Barcelona MNAC 2005 P 180 181 a b c d Caravaggio i la pintura realista europea comissari Jose Milicua coordinacio cientifica Maria Margarita Cuyas Barcelona MNAC 2005 Traduccio a l angles p 431 433 Caravaggio i la pintura realista europea comissari Jose Milicua coordinacio cientifica Maria Margarita Cuyas Barcelona MNAC 2005 BibliographyFurther reading editL esplendor de la pintura del barroc mecenatge catala al Museu Nacional d Art de Catalunya Museu Nacional d Art de Cataluyna maig de 1996 Maria Margarita Cuyas Barcelona Museu Nacional d Art de Cataluyna 1996 p 96 97 English translation pages 180 186 Massimo Stanzione L Opera completa Napolis by S Schutze 1992 p 208External links editMuseu Nacional d Art de Catalunya Saint Agnes Google Art Project Saint Agnes 1635 1640 Retrieved from https en wikipedia org w index php title Saint Agnes Massimo Stanzione amp oldid 1183082731, wikipedia, wiki, book, books, library,
