This painting, which is from Massimo Stanzione’s mature period, can be dated to the 1640s. The artist was chosen by the Carthusians, Theatines, Jesuits and Capuchins, for whom he made large frescoes and canvas paintings for the principal churches in Naples. After working initially as a portraitist and painter of profane scenes in the Late Mannerist style of Fabrizio Santafede, Stanzione worked in Rome closer to the style of Vouet, to whom he was linked by his interest in the classicism of Guido Reni and his attempt to render the strict naturalism of Caravaggio in an academic and graphic manner. The work recalls Reni’s and Domenichino’s classicism. Together with numerous half figures of saints, martyrs and biblical heroines, it expresses an intimate and domestic religious sentiment with the sophisticated formal elegance and sentimental grace which were also to be found in Bernardo Cavallino.

Maia Confalone