Scuola Umbra (c. 1600) - Madonna col Bambino dipinta su ardesia

- Oil and temple on slate sheet. Restorations and interventions for consolidation and stabilization of the support.

Marble and slate were considered by Italian Renaissance scholars to be the noblest and most worthy supports for painting due to their unchanging and perennial nature. This superb Central Italian Mannerist Madonna maintains, thanks to the stone surface on which it is painted, a timeless, solid, and eternal appearance.

This painting of the Virgen de la Leche or Virgo Lactans, prominently dated to 1615, is a fascinating work from the Central Italian school, characterized by its execution on a slate sheet. The composition depicts the Virgin, dressed in a red tunic and dark blue cloak, feeding the Child Jesus, who is held firmly. The style, with its intimate chiaroscuro and frontal figures, reflects a persistence of Mannerist aesthetics in regional Italian centers.

Slate painting is closely linked to the experimentation of the great masters of late Renaissance and Italian High Baroque, seeking supports that elevated the status and permanence of painting. Sebastiano del Piombo was a pioneer in this technique, influenced by Michelangelo, working on marble and slate. Other giants like Titian and the Circle of Raphael also used it sporadically for works of intimate devotion or cabinet pieces. The use of slate in 1615 in this work directly connects it to this noble tradition of Italian painting, where the solidity of the stone combined with the fleeting nature of oil to create pieces destined for eternity.

Image dimensions without frame: 43 x 71 cm / 57 x 85 cm with impeccable antique framing in custom gold wood.

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