Christ as Salvator Mundi with the Madonna at Prayer

Oil on panel

51 x 67 cm.
with tabernacle frame 78 x 92 cm.

We find ourselves before a rather rare iconography, which places in the same pictorial context the suggestive subject of Christ as 'Salvator Mundi' and that of the Virgin in prayer, portrayed in his presence.

The two figures, in the foreground, are depicted in a solemn and majestic manner, in symmetrically opposed positions, establishing direct visual contact between them. We can also admire the organisational structure of the two subjects who, looking at each other, form a pyramid.

On the left we glimpse the traditional model of the Salvator Mundi, portrayed as a half-figure, his right raised in the act of blessing and his left holding a sphere representing the globe surmounted by a cross, the symbol of his universal power, the so-called globus cruciger.

In this case, unlike the formula most commonly used for this theme, Christ is shown slightly turned to the side, a position that to some extent avoids the traditional hieraticism, of Byzantine heritage.

At his side is the Virgin, her hands joined in prayer, whose image reconciles Christ's remarkable spiritual strength with a refined elegance, supported by the superb descriptive capacity of the face that stands out from the dark background.

The charm of the painting lies in the expressiveness of both characters: no anguish or suffering leaks from their faces, but on the contrary, the fixity of their gaze infuses the viewer with deep spiritualism.

The painting, of good quality, has been realised with excellent attention to anatomical details and a careful study of light and colour. The bodies emerge from the semi-darkness with remarkable plastic strength, invaded by an incident light that illuminates the colours of the robes and brightens the complexion with the features.

The work in question demonstrates a brio and quickness of execution that suggests it may be a master from the Veneto or Lombardy, presumably active between the late 16th and early 17th century, who grew up in the Titian environment or from whom he was strongly influenced. It cannot be ruled out that this could be an author of foreign origin, presumably Flemish, although active in Italy.

Consider that Titian was the owner of a veritable company, whose members participated in the master's work in various ways, directly and indirectly, finishing barely sketched canvases, replicating successful themes and compositions, multiplying the most sought-after subjects requested by patrons, using formulas and compositional schemes that had already been tried and tested.

The painting is in good condition, restored.

Complete with gilded and temple-lacquered wooden frame, not antique.