Italian school; 18th century.

Italian school; XVIII century.
"The Assumption of the Virgin".
Oil on canvas.
It presents damages caused by xylophagous.
Measurements: 76 x 38 cm; 84 x 47 cm (frame).
In this work that follows the model of Titian that is in the Basilica of Santa Maria dei Frari, Venice, the Assumption of the Virgin is shown, taken in body and soul to Heaven in a triumphal and scenographic way. Behind her opens the Glory, represented by the golden divine light, an elaborate break in whose margins we see a multitude of angels in different positions, some looking down to earth and others upwards. On the earthly plane, clearly differentiated from the heavenly one, the apostles are accumulated. They are the apostles who, having witnessed the death of Mary, are amazed at her Assumption. Some of them are represented with their backs turned, closing a defined circular composition, classical and orderly despite the apparent crowding of the characters in favor of the theatricality and, above all, the dynamism of the scene. Most of the characters appear looking towards the sky, with raised hands expressing both surprise and veneration, an aspect of skillful narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is elevated to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her.
The expression Assumption is significant: it is opposed to the Ascension, like the passive to the active. That is to say, Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. Byzantine art represents the Assumption of the Virgin's soul, collected by Christ on his deathbed. On the other hand, Western art depicts her bodily Assumption outside the tomb where the apostles had buried her. Therefore, a distinction must be made in iconography between the Assumption of the Virgin's soul in the form of a child and the Assumption of her glorious body, the latter being the one represented here. The European model presents Mary in a prayerful attitude, with joined hands, surrounded by golden light, carried by angels and leaving the open tomb at her feet, which may appear empty or full of lilies and roses. Because of an iconographic confusion, the Assumption will lose its original character to become Ascension. This transformation was consummated in Italian art in the 16th century, and progressively spread throughout the rest of Europe. However, this new formula did not eliminate the old one, of which we find examples in the 17th century. This painting stands out for the artist's interest in the plastic based on his workmanship and chromatism.