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XVI century, Veneto-Cretan school, Holy conversation

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XVI century, Veneto-Cretan school, Holy conversation
XVI century, Veneto-Cretan school, Holy conversation-1
XVI century, Veneto-Cretan school, Holy conversation-2
XVI century, Veneto-Cretan school, Holy conversation-3
XVI century, Veneto-Cretan school, Holy conversation-4
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Detailed Description

16th century, School Veneto - Cretan
Holy conversation
Tempera on panel, 54 x 45 cm

The examined painting highlights the peculiar characteristics of the pictorial current called Cretan Venetian, spread from Venice to the Dalmatian coast and to the Greek islands, from the XIII century until to the seventeenth century. The Veneto Cretan definition refers to an area geographically and culturally located between Venice, which controlled this vast Mediterranean area politically, and the ancient Byzantium, a historical hinge between Europe and Asia, where oriental characters prevailed at the time. From an artistic point of view, the Dalmatian-Cretan area was unified under a sort of koinè, that is a common language, thanks to the splendid fusion between the Venetian culture and the oriental culture. Remember that the famous painter Domenico Theotokopulos (1514-1614), called El Greco, took his first steps when he moved to Spain. The Byzantine tradition, made of golden preciousness and the prevalence of the line on the volume, is grafted in this work on Renaissance Venetian novelties, such as the opening on the landscape, the narrative sense of the story, the gestural vivacity. The present painting exemplifies the coexistence of such cultures: on the one hand, in fact, it reveals typical features of Western taste in spatial construction, of an almost archaeological flavor, as well as in the use of Venetian-style colors. On the other hand, it shows an approach to the Byzantine-Oriental culture in its features, but above all in the search for two-dimensionality and in the low perspective depth, here mitigated by the construction of the walls and the stairs that raise the throne of the Virgin. On the sides are St. Peter, identified by the keys in his left hand, and St. John the Baptist, with the lamb at his feet. The scene is introduced, theatrically, by a thick green drapery placed at the top of the table and falling on the sides.

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Ars Antiqua srl Milano, Via Carlo Pisacane, 55 (Milano - Italy)

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