17th Century, Veneto
Charity
Wood, 50 x 17 cm
The work under examination constitutes a vibrant and complex representation of the Allegory of Charity (Caritas), the most eminent of the three theological virtues according to Christian tradition. Attributable to the Venetian school of the 17th century, it fully embodies the expressive fervor and theatrical dynamism of Baroque art. The central figure is a mature and robust woman, a symbol of fertility and unconditional love, captured in the act of breastfeeding and caring for a multitude of cherubs. Her sensual pose, with her sinuous body lying down and the voluminous drapery that wraps around her lower part, contrasts with the emotional urgency of the children surrounding her. The latter, arranged with great compositional variety – some clinging to her breast, others playfully at her sides or carefully assisted – are not mere accessories, but essential elements that amplify the meaning of the virtue: generous love and spiritual and material nourishment towards others. The predilection for complex wooden sculpture rich in pathos found fertile ground in the Veneto region, culminating in the work of artists of the highest level. It is in this context of technical mastery and intense expressiveness that the influence of Andrea Brustolon (1660-1732), the great bellunese woodcarver, is inserted. The sculpture shares his spirit and skilled ability to infuse life and movement into the wooden material. The sculpture of Charity, with its crowding of figures and its energetic composition, is therefore a magnificent testimony to the Venetian sculptural tradition which, anticipating or flanking the genius of Brustolon, knew how to transform the theme of virtue into a powerful, sensual and profoundly human image.
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