The death of St. Joseph

oil painting on canvas

101 x 74 cm.

In frame 109 x 82 cm.

Particularly rare is the proposed subject, which immortalizes a moment in the life of St. Joseph, his passage from earthly life, through death, to the spiritual one.

Although the New Testament does not say anything about the death of Joseph, while praising the figure in relation to the life of Christ, this event is told by the apocryphal texts, in particular by the Protoevangelium of James, which describes this moment in detail, with the man now dying, consoled by the presence of his son and his wife, while his soul is collected by the archangels and taken to Heaven.

The depiction of Christ is very plastic, standing while making a theatrical gesture, pointing with his right arm to one of the two large angels with outstretched wings holding the body of his father, as if to authorize his ascent into heaven.

In the upper part of the representation a riot of angels show the way to bliss: one holds the flowered lily, attribute of Joseph, in his hand, another a garland of flowers. The presence of the angels is very symbolic for Saint Joseph who received the announcement that he was the chosen husband of Mary.

The work expresses the typical characters of Neapolitan painting between the 17th and 18th centuries and, in particular, there are many stylistic and compositional affinities with the creations of the Neapolitan Massimo Stanzione (1585-1656), of which there is a similar composition in Naples. , at Castel Sant'Elmo (https: //storico.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Menu-Utility/Immagine/index.html_6458 ...)

By lingering in the analysis of the painting, we can easily bring it closer to the stylistic typologies of the circle of Francesco Guarini (1611 - 1654), also among the Neapolitan-trained artists inextricably linked to Caravaggio's painting, who had his training in Stanzione's workshop.

Particularly significant is Guarini's production of sacred scenes intended for both public and private and "chamber" commissions, defined by an exceptional number of paintings of a devotional nature.

We know in fact that Guarini built for the Church of the SS. Body of Christ by Serino a large altarpiece depicting the Transit of St. Joseph (http: //catalogo.fondazionezeri.unibo.it/scheda/opera/53435/Guarino%20Francesco%2C%20Morte%20di%20san ...), inspired from the prototype created by her master, reinterpreting however the definition of the typical forms with her style and with attention to detail that have counted her among the best works of her maturity.

The magnificence of the canvas led Guarini and his workshop to create other versions for private commissions, naturally smaller in size with an often simpler pictorial language. The chromatic range remains brilliant, as in our case, played on the bright red of Christ's cloak, on the shining whites of the loincloths and the incarnations of the angels, and finally with the yellow ocher of the angel's robes turned from behind.

Storage conditions:

The painting, enhanced by a splendid crackle, is in good conservation conditions.

Rintelo executed in the late nineteenth century.

Complete with non-coeval frame.

ADDITIONAL INFORMATION:

The painting is sold with a certificate of authenticity and a descriptive iconographic card.

We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers.

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