Maestro del Pappagallo (Anversa XVI sec.) seguace

'Master of the Parrot' (Painter active in Antwerp in the early 16th century, whose name refers to the parrot that always appears in his Marian paintings) - follower of Madonna Enthroned with Child (With the coat of arms of the commissioning family at the top of the composition) Oil on panel 101 x 62 cm. - framed 114 x 76 cm. * Full details relating to this painting can also be viewed directly at the following - link - The beautiful work presented exhibits the typical iconographic characteristics of the painter known as the 'Master of the Parrot,' a conventional name used by critics to define an anonymous Dutch author of the 16th century. More precisely, he is a painter from the Southern Netherlands, active in Antwerp around 1530-50, so defined for the unmistakable parrot that often appears in his works. In religious iconography, the parrot has often been used as a Marian symbol, as it was widely believed that its most common verse was "Ave," that is, the greeting of the Archangel Gabriel to Mary at the time of the Annunciation. Today, the idea is widespread that the denomination 'Master of the Parrot' does not refer to a single painter, but rather a group that, based on stylistic characteristics, carried out their training at the workshop of Pieter Coecke van Aelst (Aalst 1502 – Brussels 1550), creating devotional paintings intended for a bourgeois clientele and concentrating their activity on a specific topic particularly requested by the contemporary market. As an example, we can mention the Virgin and Child of the San Diego Museum of Art (link) where the figures, like our own, are in line with the Mannerist taste for elegant body proportions that exceed reality, with elements such as tapered fingers, a wide face, and a thin nose. These characteristics also betray the influence of artists active in the region such as Joos van Cleve, Ambrosius Benson, and Jan Gossaert, from whose works he must necessarily have drawn inspiration. As we can well see from our painting, executed by a talented follower on commission from the family whose noble coat of arms is affixed at the top, the works of these artists were characterized by the unmistakable reception of Italian Renaissance painting, particularly visible in the way the child sits in the mother's lap and also in the compositional choice of including a landscape view visible through a window. Even the sfumato technique, reminiscent of Leonardo da Vinci, attests to the lasting Italian influence in these works. The state of preservation of the panel is good, perfectly restored; there is a slight crack, visible in the lower part of the canvas in conjunction with the edge of the table, stabilized, and which minimally affects the reading of the work. It has an old professionally executed parquetry. The painting is completed by a pleasant gilded frame. It is our duty to advise that, given the delicacy of some particular antique frames, there is the possibility that small lesions of the gilding may occur during transport, despite the packaging being carried out with the utmost care. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic sheet. We take care of and organize the transport of purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Also follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/