Carlo Maratta (1625-1713), Follower of - Sacra Famiglia con San Giovannino e cherubini

Scope of CARLO MARATTA
(Camerano, 1625 – Rome, 1713)
Holy Family with the Little St. John and cherubs
Oil on canvas, cm. 20 x 30
Framing size cm. 32 x 41 x 5 approx.

NOTE: Publication catalog of the Intermidiart collection works (pdf). Untitled work. Certificate of Guarantee and Legitimate Provenance. Work with a gilded tray-style frame (defects):

We present in the catalog an interesting oil painting on canvas of good quality, which, with refined devotional grace, illustrates a fortunate theme of Roman painting on the border between the 17th and 18th centuries: the Holy Family captured in a moment of intimate and affectionate daily life, enlivened by the presence of the little Saint John the Baptist and crowned above by two cherub heads with wings.
From a stylistic and formal point of view, the canvas coherently fits within the sphere of Carlo Maratta, the master who more than any other succeeded in codifying late-Baroque classicism of the late 17th and early 18th century, blending the rigor of Raphael and the sweetness of Guido Reni. The idealized likeness of the Virgin, depicted in the classical protective gesture with a softly inclined profile, directly echoes Marattian Marian prototypes developed for the great Roman altarpieces. Beside her, the senile figure of Saint Joseph, involved and contemplative, harmonizes chromatically with the rest of the composition thanks to the wide, soft folds of the ochre cloak, a device typical of the master’s workshop from the Marchigian school. The luminous focal point is the Baby Jesus, laid on a red cushion that emphasizes his flesh tones and lively bodily twist toward the Little St. John, who can be identified by the traditional inscribed cartouche bearing the words “Ecce Agnus Dei.” The fluid brushwork, warm and balanced palette, and soft chiaroscuro suggest the work of a skilled painter active in the circle or among the direct followers of Maratta, operating between the late 17th century and the early decades of the 18th century.
Carlo Maratta (also known as Maratti) was the most influential and celebrated painter of late Baroque Rome. Born in the Marche region, he moved to Rome at a very young age to the workshop of Andrea Sacchi, where he absorbed the cult of the classicism of Raphael, Annibale Carracci, and Guido Reni. Soon becoming the artistic reference point for the Papal court, Maratta guided the transition of Roman painting toward a monumental and composed elegance, contrasted with the dramatic excesses of Bernini/Cortona Baroque. Named “Prince” of the Academy of Saint Luke, he directed a vast and efficient workshop that for decades disseminated his successful compositional models, influencing entire generations of painters in Italy and Europe well into the second half of the 18th century.
Regarding its conservation state, the canvas is in a decent condition. The painting surface presents a patina, with a clear and fully legible reading of the work.
The painting shows a natural and widespread craquelure (the characteristic network of fine cracks in the color), evenly distributed over the entire canvas: an element that, besides not disturbing viewing, constitutes a precious testimony to the historical authenticity of the artifact. The pictorial film preserves a beautiful chromatic vivacity, particularly noticeable in the brilliance of the red cushion in the foreground and in the chiaroscuro transitions of the flesh tones. At close range, a few small and scattered color losses are visible, aged, and slight signs of time, along with localized restorations previously executed. These retouches, aimed at repairing minor superficial abrasions, are well done and perfectly blended with the original pictorial fabric, without altering the quality and grace of the faces and main anatomies. The canvas has maintained correct structural tension, likely benefiting from a conservation or re-lining intervention from the period. The dimensions of the small canvas are cm. 20 x 30.
The frame enclosing the painting is a matter of great value: it is a gilded tray frame – probably contemporary to the work and executed in a late-Baroque/Classicist style. It features rich carved decoration with stylized foliate motifs (or elongated acanthus) repeated along the entire perimeter, creating a strong light-and-shadow effect thanks to the gilding. The gilding (presumably gold leaf) shows a splendid patina of time that enhances its authenticity and antiquarian value. In works from this period, an accompanying contemporary and original frame is not only decorative but also significantly increases the painting’s overall market value (frame size, cm. 32 x 41 x 5 approx., presence of defects). "The frame shown in the photos above has been added to the artwork by the seller or a third party. The frame is provided at no additional cost so that it is ready to display as soon as it arrives. The frame is included as a courtesy and is not considered an integral part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as grounds for opening a claim or requesting order cancellation."

PROVENIENCE: Private Collection

PUBLICATION:
- Unpublished;
- THE MYTHS AND THE TERRITORY in Sicily with a thousand cultures. UNPUBLISHED QUADRERIA catalog of paintings from the cycle “The Myths and the Territory,” Publisher Lab_04, Marsala, 2026.

In the case of sale outside Italian territory, the buyer must wait for the export procedures to be completed.