School Of The XVI-xvii Century, Christ Blessing

School of the XVI-XVII century

Christ Blessing

Oil on canvas, 58 x 69 cm

With frame 73 x 83 

The iconography of the Salvator Mundi recalls, enriching it, the divine dedication to the human race, with particular reference to the sacrifice of Christ for the salvation of all. The attribute of the globe denounces, in fact, the extension Urbi et orbi of the divine blessing, declared in this painting by Christ himself through the gesture of the right hand, sacred par excellence. The codification of the attribute-globe goes back in ancient times to the pagan figure of the Roman emperor carved in bas-relief or minted by the state mint bearing the globe of victory, an explicit reference to his military conquests. In the development of a modern iconography that accords with solid figurative references, on the one hand late Roman and on the other Jewish, the first Christian artists accepted the meaning of the globe held by the emperor to attribute it to Christ, the true and last emperor, reigning in the earthly and the otherworldly world.

The figural type subsequently collected lake feedback both for the immediacy of the message and for the captivating aestheticization of the blessing gesture. In this painting a double source of light lights up the figure of Jesus, one coming from the nimbus, gently illuminating the brown backdrop where the scene is presented, the other from Christ himself, illuminating the red robe worn. The crackling folds of the blue mantle placed on the right shoulder enliven the portrait, enriched by the methodical presentation of the Son of three quarters, here preferred to the classic hieratic frontality often widespread. On the globe, the artist chooses to tap the profile of the land, reserving a white glimmer in correspondence to the hand of Jesus.

The artistic history enumerates, of the present subject, several excellent examples: suffice it to recall the Blessing Christ by Antonello da Messina (National Gallery of London), although not holding the globe; or even the Flemish examples preserved at the Museum Mayer van den Bergh (Antwerp) of anonymous sixteenth century and at the Philadelphia Museum of Art, work of Gerard David. With regard to the Italian paintbrush, mention should still be made of the Salvator Mundi by Andrea Previtali ( National Gallery of London) and Titian ( Saint Petersburg, State Hermitage Museum).

The object is in good condition

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