Follower of Jacopo Bassano, 17th century

Follower of JACOPO BASSANO (Bassano del Grappa, Italy, ca. 1510 - 1592); 17th century.
"Christ in the house of Mary Magdalene and Martha".
Oil on canvas.
Frame with glass.
Measurements: 26 x 32 cm; 40 x 47 cm (frame).

The scene represented belongs to an episode of the Gospel of Luke (Lk 10, 38-42) that narrates the invitation of Jesus to the house of the sisters Martha and Mary Magdalene. The author, a faithful follower of Jacobo Bassano, prioritizes the representation of a lively domestic environment, in which the women work in the kitchen, leaving the religious message in second place. This is also what the Italian master Jacobo Bassano did in his painting of the same name. Although inspired by that painting, the place occupied here by each figure in the space has been freely reinvented, so that Jesus in this version is already seated at the table. He adopts the attitude of blessing and an aura surrounds his head, the only supernatural sign in the painting. Magadalena is filling the basin with water to wash Christ's feet. At the table, next to Jesus, is Simon the Leper (often identified with Simon the Pharisee), who is also mentioned by Luke as a guest at the meal organized by the sisters.

Luke, in that passage, tells how the two sisters invite Jesus to their home, but while Martha is busy offering the best hospitality, Mary sits down to listen to the word of the Son of God. When Martha complains, deprived of her sister's help, Jesus replies, "Martha, Martha, you are anxious and troubled about many things, but only one thing is needed. Mary has chosen the better part and it will not be taken away from her." The profound message of the episode is to give priority to the care of the spirit and inner religiosity over practical daily needs.

Jacopo Bassano was one of the great masters of Venetian painting, son and father of painters and specialized in works, both profane and religious, full of characters and animals, of costumbrista character, announcing the creation of this genre in the following century. He was already highly esteemed in his time for his precision and taste for detail when describing characters, animals and environments. His first dated work dates from 1528, and around 1533 he was already in Venice, where he began to use engravings by Titian, Dürer, Agostino Veneziano and Marcantonio Raimondi for his compositions, interpreting them in his own personal style. The following year he gained access to a more powerful and wealthy clientele through Andrea Navagero, and at this time his work began a stage more influenced by Raphael, which will drift towards a style closer to Parmigianino and Moretto around 1540.