Italian school, follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642); 17th century.

Italian school, follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642); XVII century.
"Madonna of silence".
Oil on canvas. Relined.
It has a frame of the nineteenth century.
Measurements: 80 x 65 cm; 84 x 69 cm (frame).
The iconographic theme is the contemplation of the child who is sleeping while his mother, the Virgin, adores him. It is the combination of the concepts of mother and son in natural and tender attitude, as well as mother of God observing the divine and transcendental character of her son. The painter offers us a scene of very long tradition in the Christian West, worked with subtle gradations of half-tones. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them. This was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterized a large part of artistic production. This characteristic became increasingly common over the centuries. It is worth noting the symbolism of the colors of the fabrics, the blue cloak representing universality, the red tunic alluding to the passion of Christ, and the white fabric showing the purity and innocence of Jesus. Therefore, in spite of the calmness denoted by the Virgin's facial gestures, her clothing defines her as a suffering mother, aware of her son's destiny.
The quality of the work brings us closer to the artistic circle of Guido Reni. The undisputed master of Roman-Bolognese classicism along with Albani and Domenichino, Guido Reni was undoubtedly the best of the three. Closely linked to the Carracci family and to the city of Bologna, they all had a similar trajectory. They trained in Bologna with Denys Calvaert, and then moved on to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Farnese Gallery. His best period begins in these years; in 1609, at Annibale's death, Reni remains the head of the classicist school.