Saint Barbara Crushing her Unfaithful Father, with a Kneeling Donor


size(cm): 50x35
Price:
Sale price668,00 lei RON

Description

The painting St Barbara Crushing her Infidel Father, with a Kneeling Donor by artist Domenico Ghirlandaio is a masterpiece of the Italian Renaissance. The 68 x 47 cm painting shows Saint Barbara, the patron saint of artillerymen, at the moment when she crushes her pagan father, who was trying to kill her for her Christian faith.

The composition of the work is impressive, with a clear division between heaven and earth, and a diagonal that divides the painting into two parts. At the top, we see Saint Barbara, in golden armor and a sword in her right hand, while at the bottom, her father falls to the ground, his head smashed by a rock.

The coloring of the work is vibrant and full of life, with a range of tones ranging from the deep reds and golds of the Santa Barbara armor to the grays and browns of the background landscape. The light that illuminates the figure of Saint Barbara is especially impressive, with a chiaroscuro effect that creates a sense of depth and realism.

The story behind the painting is fascinating. It is believed to have been commissioned by the Florentine merchant Giovanni Tornabuoni for his family's chapel in the Church of Santa Maria Novella in Florence. The painting was one of the first works by Ghirlandaio, who would become one of the most important artists of the Italian Renaissance.

One of the lesser known aspects of the painting is the detail of the kneeling donor in the lower left corner. This man, identified as Giovanni Tornabuoni, is dressed in period clothing and holds a book in his hands, as if he were reading a prayer. His presence in the painting is an early example of the portraiture technique in religious painting.

In conclusion, the painting St Barbara Crushing her Infidel Father, with a Kneeling Donor by Domenico Ghirlandaio is an Italian Renaissance masterpiece noted for its impressive composition, vibrant coloring, and fascinating story. The presence of the donor in the lower left corner is an interesting detail that shows the evolution of the portrait in religious painting.

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