17th Century, Saint Ursula In Garland Of Flowers

17th century

Saint Ursula in Garland of Flowers

Oil on canvas, 64 x 47 cm

With frame, cm 84 x 66

Since the sixteenth century, Flemish models have increasingly spread in Lombardy thanks to the intensification of economic relations between Milan and Brussels and the passion for Flemish art of Cardinal Federico Borromeo. Thus. In addition to spreading the genre of still life and landscape in Italy, the artists increasingly create Madonnas with children and other sacred subjects within garlands of flowers, a composition that arose from the collaboration between Borromeo and Jan Brueghel. It is possible that this iconography finds its roots in the use of decorating sacred images with wreaths of flowers during processions, or in the spread in Northern Europe to create compositions with Statues of the Virgin and the child adorned with flowers, trees and plants made of paper or wax. But also in the interest of artists and collectors towards nature also in light of the scientific discoveries in the biological field of time. However, this type of contemplation exalts at the same time the spiritual value of the sacred image and the artist’s technical abilities in the precise expression of the natural fact of almost encyclopedic taste. The genus of the Madonna with Child in a garland of flowers then spreads in the main Italian cities. Important for the development of this type of representation is the workshop of Procaccini. Al Prado houses a Madonna with Child and Angels in Garland of Flowers by Giulio Cesare Procaccini in collaboration with Jan Brueghel. The brother of Julius Caesar (1574-1625) Carlo Antonio Procaccini  (1571 - 1630)  instead makes changes to the invention of Borromeo and Brueghel, inserting into the garland of flowers not only sacred figures but also landscapes. Just from dear Antonio the kind of the wreath of flowers develops considerably in the Lombard region. Luigi Malvezzi remembers that Carlo Antonio "worked for divoti pingendo big crowns of flowers, in whose middle it placed a bust of the virgin, or of Christ or of Saints" (The Glories of the Lombard Art, Milan, G. Agnelli, 1882, p. 234). 

Approachable to the manners of the workshop of the Procaccini is the painting in examination, depicting Saint Orsola within a thick and colorful garland of flowers. The setting of the Saint is in fact close to Ghirlanda di Fiori with female figure of the Visconti Castle of San Vito a Somma Lombardo, work of Carlo Antonio Procaccini. But in general the work illustrated therein collects the Emilian influences of the family of Bologna origins. They refer again to the production of Procaccini and in particular to that of Carlo Antonio, the flowers wisely and in detail described. See a comparison with the flora surrounding the Rest in the Flight to Egypt in a private collection attributed to Carlo Antonio, as well as other works in his private collections. 

The object is in good condition

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