Caterina Maffeis

意大利艺术：五个世纪的伟大

罗马风格学校，18世纪
沿庞贝·巴托尼风格传统
祈祷中的圣母像

油画布上油画
46 × 38 cm
（后装框呈现）

来源：法国私人收藏。

这幅亲密而极具 distinguished 氛围的作品以圣母为主体，呈三分之二身像的半身肖像，背景为深色纯色对比，凸显出圣母形象的轮廓。画家在此运用强烈的明暗对比：半身及面部部分故意处于阴影之中——这一技法极大地提升了圣母的气色与异常明亮的肌理。

那无比柔和的面部特征体现了古典传统与拉斐尔圣母像的理想优雅，这些气质在18世纪的罗马大师们的再发现与赞美中再次被强调。圣母微微低头，目光含蓄，呈现出既深沉谦卑又带有贵族般高雅的姿态。她双手抱胸，表示虔敬，手指轮廓优雅而纤细，这是该时期主要宗教圣像所特有的形式美学特征。

状况报告：作品有常见的旧修复与轻微的表面磨损，但不影响构图的辨识度。

NO RESERVE

Roman School, 18th Century
In the stylistic tradition of Pompeo Batoni (1708-1787)
The Virgin in Prayer

Oil on canvas
46 x 38 cm
(Presented in a later frame)

Provenance: French private collection.

This intimate and highly distinguished composition depicts the Virgin in a three-quarter bust view, standing out starkly against a dark, solid background. Here, the artist employs a powerful chiaroscuro contrast: half of the body and face are intentionally cast in shadow—a technical device that beautifully enhances the Virgin's complexion and exceptionally luminous skin tone.

The infinitely soft facial features reflect the classical heritage and ideal grace of Raphael’s Madonnas, which were rediscovered and celebrated by 18th-century Roman masters. Gently inclining her head with modestly downcast eyes, Mary adopts an attitude that blends deep humility with an aristocratic nobility. Her hands, crossed over her chest in a gesture of devotion, are notable for the elegance and slender contouring of the fingers—a formal characteristic typical of the major religious effigies of this period.

Condition Report: The artwork shows standard old restorations and minor surface wear that do not affect the legibility of the composition.

NO RESERVE



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意大利学校 (XVIII) - The Virgin in Prayer - NO RESERVE

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The Virgin in Prayer - NO RESERVE，是一幅18世纪意大利产油画，来自意大利学派，带框。

意大利学校 (XVIII) - The Virgin in Prayer - NO RESERVE

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The Virgin in Prayer - NO RESERVE，是一幅18世纪意大利产油画，来自意大利学派，带框。

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