Follower of Guido Reni, Italy, 17th century.

Follower of GUIDO RENI (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642); Italy, 17th century.
"Madonna del Silenzio".
Oil on canvas. Relined.
It has a frame of the nineteenth century.
Measurements: 36 x 49,5 cm.
The iconographic theme is the contemplation of the child who is sleeping while his mother, the Virgin, adores him. It is the combination of the concepts of mother and son in natural and tender attitude, as well as mother of God observing the divine and transcendental character of her son. The painter offers us a scene of very long tradition in the Christian West, worked with subtle gradations of half-tones. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them. This was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterized a large part of artistic production. This characteristic became increasingly common over the centuries. It is worth noting the symbolism of the colors of the fabrics, the blue cloak representing universality, the red tunic alluding to the passion of Christ, and the white fabric showing the purity and innocence of Jesus. Therefore, in spite of the calmness denoted by the Virgin's facial gestures, her clothing defines her as a suffering mother, aware of her son's destiny.
Judging by the formal and stylistic characteristics, the present work was executed by a painter of the Guido Reni circle, undisputed master of Roman-Bolognese classicism together with Albani and Domenichino. Thus, we are faced with the representation of the Virgin Mary in her dedication as Dolorosa, portrayed on a neutral background, with a powerful diagonal spotlight illuminating the figure. Formally, Mary is presented bust-length, raising her gaze towards the source of the light, in ecstasy and with a subtle and elegant gesture. Guido Reni was undoubtedly the best of the three. Closely linked to the Carracci family and to the city of Bologna, they all had a similar trajectory. They trained in Bologna with Denys Calvaert, and then moved on to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Farnese Gallery. His best period begins in these years; in 1609, at Annibale's death, Reni remains as the head of the classicist school. In the city he will be protected by Scipione Borghese, the future Pope Paul V, for whom the painter will realize one of his most important works, "La Aurora" (Palazzo Rospigliosi). It shows something that will always be characteristic of Reni's style, his admiration for ancient sculpture. Starting from the classical statues, he develops an ideal of beauty and perfection that will be much admired by the following painters. In 1614 he returned to Bologna for good. Reni's style evolves in a clear direction, more and more sculptural and cold, more and more fully classicist. His mature work will be characterized by a cold palette, with silvery reflections. Finally, from the 1930s, his style became sketchy, with an unfinished appearance and a tendency towards monochrome, of great interest from a technical as well as a formal point of view.Guido Reni is currently represented in the most important art galleries around the world, including the Prado Museum, the Hermitage, the Louvre, the Metropolitan in New York and the National Gallery in London, among many others.