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17th century, God the Father and the Holy Spirit

Codice: 457317
1.800
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Period: 17th century
Category: 16th Century Religious Paintings
Dealer
Ars Antiqua SRL
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Via Pisacane, 55, Milano (MI (Milano)), Italia
+39 02 29529057
http://www.arsantiquasrl.com
17th century, God the Father and the Holy Spirit 
Description:
17th century God the Father and the Holy Spirit Oil on copper, 21 x 12.5 cm – with frame, 24.5 x 17.5 cm The work in question, a delicate 17th-century oil on copper, is distinguished by considerable executive skill that exploits the metallic surface to lend brilliance and depth to the chromatic passages. The composition is articulated along a vertical axis of strong spiritual ascent, dominated by the monumental figure of God the Father emerging from a choir of golden clouds. The elder, characterized by a gray beard and an expression of solemn benevolence, extends his open hands downwards in a gesture of welcome and blessing, while a large pink cloak billows dynamically behind him, suggesting an ethereal movement. Immediately below him, a pure white dove with outstretched wings, surrounded by a halo of dazzling light, completes the upper part of the Trinity, symbolizing the descent of the Holy Spirit. The subject fits within the Italian Baroque sensibility, aimed at making divine mystery tangible through warm and enveloping light. The iconography of God the Father and the Dove is central to 17th-century sacred painting, a period when the Trinitarian dogma was celebrated with scenic emphasis to emotionally engage the faithful. This specific approach finds illustrious parallels in other famous depictions from the same century, such as those created by Paolo Veronese for the Tavera Hospital in Toledo, by Francesco Conti (now in a private collection), or by Cavalier d'Arpino for the Diocese of Cassino. In these examples, the celestial hierarchy is reaffirmed by the superimposed position of the figures, where the Eternal appears as the primary source of light and life. The copper analyzed here, despite its intimate size, manages to condense this grandeur, using fluid brushstrokes and a palette based on tones of dusty blue, iridescent pink, and gold to describe an atmosphere of universal peace and immutable sacredness, typical of high-quality devotional production of the period.