Italian school; 17th century.

Italian school; XVII century.
"Greed".
Oil on canvas.
Measurements: 72 x 60 cm.
In this image the author shows a scene that seems to be taken from everyday life, a costumbrista scene, but nevertheless keeps a deeper allegorical meaning, a second reading that tells us about greed. In the scene we can appreciate the representation of an elderly woman, seated next to a table where coins and pearls are arranged. The protagonist fixes her deep, black gaze on us, discovering our invading presence, perhaps making us participants in the theatrical representation that is, in the end, every baroque work. Allegorical portraits emerged from the Middle Ages with the intention of exalting the qualities and situations of life. This type of portraits were used to exalt the qualities of a specific character, such as kings, or recognized personalities. In fact, during the baroque period this trend was again in vogue. In this particular case it is not about a recognized character, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.
At the beginning of the twelfth century a current of artists belonging to the Dutch artistic scene took place. This group of painters whose training was based on the study of classical art meant the presence of these painters in the Italian capital. This was the place where they came into contact not only with classicism, but also with the most innovative currents of the time. It is in this context that they experienced the novelties of Caravaggio's figurative language. Adopting the stylistic resources of the Milanese painter, the Utrecht Caravaggists followed the current of Caravaggesque naturalism, presenting it through chiaroscuro effects. On their return to Holland, between 1620 and 1630, these painters succeeded in imposing Caravaggio's dramatic chiaroscuro and realism in Utrecht, which was a Catholic city.