Highlights from Genoa

Detail featured at top: Gregorio De Ferrari, The Death of Saint Scholastica, c. 1700, oil on canvas, Museo Diocesano, Genoa, on deposit from the Abbazia di Santo Stefano. Photo by Luigino Visconti

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Detail featured at top: Alessandro Magnasco, Garden Party in Albaro, 1745/1749, oil on canvas, Musei di Strada Nuova, Palazzo Bianco, Genoa, PB 81. © Musei di Strada Nuova

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A kneeling woman and two nude, winged, child-like angels supporting her all look up at three angels on a cloud bank in this vertical painting. The woman and her attendants in the lower right corner take up half the composition, which is divided from the second group by a diagonal line of charcoal-gray clouds. All the people have pale skin with gray-tinged shadows and pink cheeks. The woman’s face is tipped up, her mouth open. Long, copper-red curls frame her face and fall down her back. An ochre-yellow robe falls off her shoulders to expose her breasts, and her legs are covered by a white shift. She holds both hands palm up. One arm drapes across the shoulders of an angel who hugs her waist. The other angel leans against the woman’s lap. These two and the other three angels all have gold or strawberry-blond curly hair and silvery gray or lavender-purple wings. In the clouds, one angel plays a violin, and another gestures with the first two fingers raised. Those two wear robes in laurel green, crimson red, or white. Another nude child-like angel sits on the clouds along the left edge of the painting, and a winged baby head is below. The groups are lit dramatically from the front and slightly to our left, so the setting is deep in shadow.

Giulio Cesare Procaccini, The Ecstasy of the Magdalene, 1618/1621, oil on canvas, National Gallery of Art, Washington, Patrons’ Permanent Fund, 2002.12.1

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Francesco Biggi, after Domenico Parodi, The She-Wolf with Romulus and Remus, c. 1707, marble, Musei di Strada Nuova, Palazzo Rosso, Genoa, PR 317. Courtesy of Musei di Strada Nuova, Photo by Luigino Visconti

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Gregorio De Ferrari, Saint Michael and the Rebel Angels, c. 1682, pen and brown ink with brush and brown wash, heightened with white, over traces of black chalk, on gray-green paper, National Gallery of Art, Washington, Elizabeth White Fund, 2018.165.4

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Antonio Travi, Shore with Fishermen and Ruined Tower, 1650/1655, oil on canvas, private collection, courtesy Galerie Canesso, Paris

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Lorenzo De Ferrari, Alexander and the Gordian Knot, 1740/1744, oil on panel, Musei di Strada Nuova, Palazzo Bianco, Genoa, PB 1784. Courtesy of Musei di Strada Nuova, Photo by Luigino Visconti

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Bartolomeo Biscaino, The Nativity, 1650/1655, etching, National Gallery of Art, Washington, Ailsa Mellon Bruce Fund, 1985.54.1

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Lorenzo De Ferrari, Study of an Angel in Flight, c. 1738, black chalk on blue paper, squared in red chalk, National Gallery of Art, Washington, New Century Fund, 2018.172.2

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Giovanni Benedetto Castiglione, The Adoration of the Shepherds, 1650/1655, brush with red and blue oil pigments, National Gallery of Art, Washington, Woodner Collection, Gift of Dian Woodner, 2012.7.1

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Domenico Piola, The Coronation of the Virgin, c. 1695, oil on canvas, Musei di Strada Nuova, Palazzo Bianco, Genoa, PB 2778. © Musei di Strada Nuova

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Dutch or Flemish Silversmith, after Bernardo Strozzi, Basin with Scenes from the Life of Cleopatra, c. 1618/1620, silver, The J. Paul Getty Museum, Los Angeles, 85.DG.81

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Gregorio De Ferrari, The Infant Moses with Pharaoh’s Crown, 1675/1680, oil on canvas, Collezioni d’Arte Banca Carige, Genoa

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Domenico Piola, Vault with the Immaculate Conception, 1683/1684, pen and brown ink with brush and brown wash over traces of black chalk, Gabinetto Disegni e Stampe di Palazzo Rosso, Genoa, D 2131. © Gabinetto Disegni e Stampe di Palazzo Rosso

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Alessandro Magnasco, Saint Augustine and the Child, c. 1740, oil on canvas, Musei di Strada Nuova, Palazzo Bianco, Genoa, PB 2746. © Musei di Strada Nuova

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