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Angelo Caroselli
Rome, 1585 - 1652
This painting is part of a broader group of Caroselli’s “Madonna” works, which include a number of similarly devotional pieces. Among these are the Madonna and Child and Saint John the Baptist at the City Art Gallery in Manchester, the Madonna and Child and Saint John the Baptist formerly housed in the Volpe collection in Bologna, and the Madonna and Child once part of the Kurt Meissner collection in Zurich. Other works in this group include the Madonna with Child and Archangels Michael and Raphael at the Fondazione Roma, and the Madonna and Child at the Galleria Nazionale di Arte Antica in Palazzo Corsini, Rome, which offers further insight into the thematic and stylistic range of the artist’s work. Caroselli’s similar compositions demonstrate his continued exploration of sacred themes, rendered with his characteristic elegance and grace.
Madonna and Child with Saint Elizabeth and the Infant Saint John the Baptist
1630 c.
Oil on panel, 28 x 19.59 cm
Provenance
Rome, private collection
Rome, sale, Hotel Hilton, 1964
Rome, Babuino sale, 16-18 December 2008, lot 64 Paris, Galerie Canesso, 2011
Private collection
Bibliography
A. Ottani, Su Angelo Caroselli, pittore romano, in “Arte Antica e Moderna”, 31-32, 1965, p. 292
D. Semprebene, Angelo Caroselli 1585-1652. Un pittore irriverente, Rome 2011, p. 147
V. Damian, De Paris Bordon à Pompeo Batoni. Un parcours dans la peinture italienne, Paris 2011, pp. 28-31
M. Rossetti, Angelo Caroselli 1585 - 1652 pittore romano. Copista, pasticheur, restauratore, conoscitore, Rome 2015, pp. 160-162
This delicate, colourful panel was first reproduced in black and white in the 1965 article by Anna Ottani on the painter Angelo Caroselli. It was later published by Daniela Semprebene in 2011 and, in the same year, by Véronique Damian during an exhibition at the Galerie Canesso. The painting was also extensively discussed in a 2015 monograph by Marta Rossetti.
The influence of the neo-Venetian style in Caroselli’s work is readily apparent, particularly in his use of vibrant colours, graceful figures, and detailed rendering of texture. This influence, with its emphasis on lush colour and emotional depth, was especially well suited for devotional works, such as this one, intended for private contemplation and prayer. Anna Ottani, in her analysis, recognized Caroselli’s unique approach, noting his tendency to gravitate toward a more romantic version of Caravaggism developed in Rome after 1630. This softer, more emotional interpretation of Caravaggio’s dramatic light and shadow contrasts with the more intense realism of his earlier works. Caroselli’s Prayer of the Prodigal Son (now housed in the Palazzo Spada in Rome) also embodies this romantic Caravaggism and belongs to the same period of his artistic development. That work, once part of the esteemed collection of Vincenzo Giustiniani, represents a moment of spiritual reflection, much like the Madonna with Child featured here.
This painting is part of a broader group of Caroselli’s “Madonna” works, which include a number of similarly devotional pieces. Among these are the Madonna and Child and Saint John the Baptist at the City Art Gallery in Manchester , the Madonna and Child and Saint John the Baptist formerly housed in the Volpe collection in Bologna, and the Madonna and Child once part of the Kurt Meissner collection in Zurich. Other works in this group include the Madonna with Child and Archangels Michael and Raphael at the Fondazione Roma, and the Madonna and Child at the Galleria Nazionale di Arte Antica in Palazzo Corsini, Rome, which offers further insight into the thematic and stylistic range of the artist’s work. Caroselli’s similar compositions demonstrate his continued exploration of sacred themes, rendered with his characteristic elegance and grace.
Interestingly, there is another known version of this artwork, currently in the collection of Maurizio Marini in Rome. However, that Roman version is generally considered to be of lesser quality and artistic value when compared to our example. This difference in quality may be also attributed to the fact that the Roman painting is in a poorer state of preservation than ours. Over time, that version has suffered more from the ravages of age, which has affected the vibrancy and sharpness of its details. Our panel, in contrast, maintains a greater degree of finesse in its execution, with the rendering of intricate details appearing much more refined and precise.
A full fact sheet is available on request.