DOI Artikel:
Fabiański, Marcin: The Madonna and Child in Frombork and her Artistic Sources
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20613#0107
2. Lazzaro Baldi and workshop, Madonna and Child with Saints Francis, Anthony of Padua and Francesco Romana. Romę, Santa Maria
del Pianto (Photo author)
of smali angels in Frombork and the saints on the left
in both altarpieces display auricles of the same
pointed shape.
Similarities of the same kind can be found in other
autograph works by Baldi. Already in 1682 the
altarpiece in the church of San Venanzio in Fabriano
(The Holy Family with Saints Gerome, Venanzio and
Blaise)5 Mary’s legs and right arm are posed in
almost exactly the same way as in the Roman pic-
ture; Gerome’s auricle is also similar. The artist,
renowned for reelaborating his own compositions
over and over again6, anticipated the poses of the
Roman and Frombork Maries even morę closely in
his Madonna and Child with Saints Zeno, James,
Agatha and Eulalia of 1700 (Pistoia, Palazzo Comu-
nale)7, where arms and legs, and even fmgers, are
5 Cf. V. Casale, I ąuadri di canonizzazione: Lazzaro Baldi,
Giacomo Zoboli. Produzione, riproduzione e ąualita (Paragone, 33,
1982, 389), p. 44.
6 Cf. Casale, o. c., p. 41; Bellini, o. c., (as in n. 4), p. 14.
almost identical with those in the later paintings.
A similar layout, particularly of the saints, can also be
seen in Baldi’s Madonna della cintola of c. 1695
(Romę, Gesu e Maria)8.
However, Baldi would paint with a restricted
palette of dark rather than light hues. Moreover,
nonę of his pictures mentioned above save the one in
the church of Santa Maria del Pianto anticipates the
relaxed pose of the Child with splayed limbs and
gazing in the direction opposite to Mary’s. Even the
composition of this late Roman altarpiece differs
from that in Frombork in e.g. the slightly different
position of Christ and in Mary’s left hand being
lowered.
The layout and poses of the figures, especially of
the sprawling Child, as well as the sketchy treatment
7 Cf. Casale, o. c., p. 44.
8 Cf. Ferraris, o. c. (as in n. 4), p. 271; A. Pompalone,
Disegni di Lazzaro Baldi, Roma 1979, p. 93, no. 123.
103
del Pianto (Photo author)
of smali angels in Frombork and the saints on the left
in both altarpieces display auricles of the same
pointed shape.
Similarities of the same kind can be found in other
autograph works by Baldi. Already in 1682 the
altarpiece in the church of San Venanzio in Fabriano
(The Holy Family with Saints Gerome, Venanzio and
Blaise)5 Mary’s legs and right arm are posed in
almost exactly the same way as in the Roman pic-
ture; Gerome’s auricle is also similar. The artist,
renowned for reelaborating his own compositions
over and over again6, anticipated the poses of the
Roman and Frombork Maries even morę closely in
his Madonna and Child with Saints Zeno, James,
Agatha and Eulalia of 1700 (Pistoia, Palazzo Comu-
nale)7, where arms and legs, and even fmgers, are
5 Cf. V. Casale, I ąuadri di canonizzazione: Lazzaro Baldi,
Giacomo Zoboli. Produzione, riproduzione e ąualita (Paragone, 33,
1982, 389), p. 44.
6 Cf. Casale, o. c., p. 41; Bellini, o. c., (as in n. 4), p. 14.
almost identical with those in the later paintings.
A similar layout, particularly of the saints, can also be
seen in Baldi’s Madonna della cintola of c. 1695
(Romę, Gesu e Maria)8.
However, Baldi would paint with a restricted
palette of dark rather than light hues. Moreover,
nonę of his pictures mentioned above save the one in
the church of Santa Maria del Pianto anticipates the
relaxed pose of the Child with splayed limbs and
gazing in the direction opposite to Mary’s. Even the
composition of this late Roman altarpiece differs
from that in Frombork in e.g. the slightly different
position of Christ and in Mary’s left hand being
lowered.
The layout and poses of the figures, especially of
the sprawling Child, as well as the sketchy treatment
7 Cf. Casale, o. c., p. 44.
8 Cf. Ferraris, o. c. (as in n. 4), p. 271; A. Pompalone,
Disegni di Lazzaro Baldi, Roma 1979, p. 93, no. 123.
103