An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua1649–50
Artist: Giovanni Benedetto Castiglione (Il Grechetto)
Italian (Genoa), 1609-1664
'Immaculata' with Anthony of Padua and Francis of Assisi.
144 5/8 x 87 in. (367.35 x 220.98 cm) (canvas)
144 x 105 3/4 in. (365.76 x 268.61 cm) (outer frame)
Oil on canvas
Painting
Italy
17th century
The Putnam Dana McMillan Fund
In the quiet corners of creation, where beauty often wrestles with the shadows of turmoil, there lived an artist named Giovanni Benedetto Castiglione. His life, a tempest of fiery outbursts and violent conflicts, cast a long shadow over his remarkable talent. Tales abound of his tumultuous spirit: one dark day, he hurled his sister from a rooftop, sending ripples of fear through his family; another time, his hands—a fistful of rage—nearly extinguished his nephew's life in a brawl. The scars of his violent nature seemed to taint his legacy, eclipsing the brilliance of his brush.
Yet, in the midst of his personal storms, Castiglione birthed visions of divine beauty that soared beyond earthly woes. Among them, his painting of The Immaculate Conception stands as a testament to his genius. This artwork proposed a profound faith—a belief that the Virgin Mary, the mother of Christ, was born without sin. Following the traditional ways of depiction, Castiglione painted her radiantly as the Queen of Heaven. She floated gracefully upon a crescent moon, flanked by ethereal angels, bathed in a soft glow that spoke of purity and chastity.
This doctrine, echoing through the halls of Catholicism, sparked much debate among the faithful. Yet, one cannot overlook the support it garnered from the Franciscan monks, whose own essence finds sanctuary in the painting's corners. Castiglione positioned two revered Franciscan saints—Francis of Assisi gracing the left, and Anthony of Padua the right—as silent witnesses to this sacred narrative.
The canvas of Castiglione’s career, though marked by a scant number of documented works, vibrantly came alive with this piece. Commissioned for the high altar of the Capuchin church in the quaint town of Osimo, the scene sprang to life under the guidance of Cardinal Girolamo Verospi, who entrusted Pier Filippo Fiorenzi—the archdeacon of the church—with its execution. The family coat of arms, humbly nestled in the lower left corner, reminds us of the lives intertwined with this creation.
In October of 1650, as autumn leaves scattered upon cobblestone streets, the painting was unveiled—a symbol of hope and devotion. Yet, mere weeks later, an air of mystery swallowed Castiglione and his brother. They vanished from Rome, leaving their belongings behind, even their undergarments—an exodus shrouded in unanswered questions. And thus, the story of a troubled artist intertwined with visions of the divine, echoing through time, invites us to ponder the paradox of beauty born from chaos.
About the artist
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