DETAILS:
16th
Century
Gerolamo
ROMANINO
Christ
bearing
the
cross
[Cristo
portacroce]
c
1543
Oil
on
canvas
81
x
72
cm
[HxW]
Pinacoteca
di
Brera,
Milano
Print
size:
10.8
x
11.6
cm
Frame
size:
23.5
x
28.5cm
Condition:
BRAND
NEW
Weight:
700g
DESCRIPTION:
This
stunning
print
is
double-mounted,
with
a
gold
border,
all
set
on
a
creamy
background.
It
is
brand
new,
in
perfect
condition,
still
wrapped
in
plastic,
and
is
ready
to
hang.
The
beautiful
gold
frame
perfectly
compliments
the
print's
captivating
colours.
REVIEW:
Together
with
Savoldo
and
Moretto,
Gerolamo
Romani
was
one
of
the
leading
figures
in
the
great
period
of
Cinquecento
painting
in
Brescia:
the
Lombard
city
was
the
centre
of
an
important
school
of
painting
which
gave
its
own
interpretation
to
the
artistic
stimuli
from
the
Venetian
tradition
and
from
the
art
north
of
the
Alps.
Of
the
three
great
masters
in
Brescia,
Romanino
was
certainly
the
most
original.
He
probably
trained
in
the
Venetian
school,
and
worked
throughout
his
life
on
a
wide
range
of
linguistic
and
expressive
levels,
at
times
achieving
the
most
extraordinary
results
in
terms
of
inventiveness
and
dramatic
power.
He
was
active
in
the
leading
centres
of
Lombardy,
working
on
some
very
important
projects
including
that
of
the
Duomo
in
Cremona
and
of
the
castle
of
Buonconsiglio
in
Trento.
The
classical
composure
and
restraint
which
was
a
hallmark
in
his
altar
paintings
gradually
gave
way,
in
his
devotional
works
for
private
patrons,
to
an
exasperated
form
of
drama
which
was
enhanced
by
a
schematic
and
rapid
use
of
colour.
This
Christ
Bearing
the
Cross,
recently
purchased
by
the
Pinacoteca
di
Brera
in
Milan,
was
almost
certainly
made
for
a
private
principal.
The
painting
shows
Christ
ascending
to
Calvary:
he
is
bent
down
under
the
weight
of
the
cross
and
is
being
dragged
up
by
a
soldier.
The
crown
of
thorns
and
the
rope
held
by
the
brutal
hand
of
the
hireling
invite
the
spectator
to
reflect
on
the
suffering
of
Christ,
whose
painful
gaze
is
fixed
in
bitter
meditation.
The
subject
of
Christ
bearing
the
Cross,
which
was
also
taken
up
by
Romanino
in
another
painting
in
Brescia,
was
particularly
popular
in
Veneto
and
Lombardy.
The
inclusion
of
the
executioner
with
his
plumed
hat
and
bushy
moustache,
however,
suggests
that
the
painter
had
referred
to
Northern
models,
and
to
Flemish
works
in
particular.
The
Northern
tradition
was
indeed
a
constant
point
of
reference
for
Romanino,
and
he
looked
to
it
as
a
source
of
anticlassical,
dramatic
and
grotesque
motifs.
by
Roberta
Dadda
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item
will
be
sent
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This
item
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be
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a
2kg
PARCEL.
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