Venetian-Cretan School (17th-18th centuries) - Adoration of the Magi

Descriptio Tempera and gilt on panel. Dimensions: 26 × 16 cm. This religious work belongs to the Ve Neto-Cretan pictorial tradition and depicts the Adoration of the Magi, one of the most widespread themes in Christian iconography, narrated in the Gospel of Saint Matthew. The composition shows the Virgin Mary seated on the right, holding the Christ Child on her lap, who extends one arm towards those present in an attitude of blessing and welcome. Mary is dressed in a flowing, dark red tunic with deep folds outlined in black, while her head, slightly inclined towards the Child, is framed by a veil and a golden halo that emphasize her sacred nature. Behind her stands Saint Joseph, depicted as an elderly man with white hair and beard, dressed in a pink tunic and also distinguished by a golden halo. On the left side are the three Wise Men, characterized by rich, oriental-inspired garments, crowns, turbans, and gilded ornamentation. One of them kneels before the Child, offering a vessel as a symbol of his homage, while another, positioned higher, bows respectfully toward the Holy Family. At the far left, a third figure is partially visible, holding an elaborate gilded vessel surmounted by a cross, an element that reinforces the ceremonial nature of the scene. The composition unfolds against a schematically rendered architectural and landscape background, in which a violet-toned structure, vegetal elements, and a star with long golden rays—alluding to the Star of Bethlehem—stand out. The painting combines formal resources from the Byzantine tradition with narrative and decorative elements characteristic of Venetian painting, reflecting the artistic language developed in Crete under the influence of the Republic of Venice. The figures feature stylized faces, almond-shaped eyes, defined contours, and a hierarchical arrangement that gives special prominence to the Virgin and Child, while the use of reddish, green, ochre, and gold tones adds chromatic richness to the whole. The work finds stylistic references in the production of Cretan icon workshops of the 16th and 17th centuries, especially in the sphere of Andreas Ritzos (1421-1492), Michael Damaskinos (1530/1535-1592/1593), and Emmanuel Tzanes (1610-1690), key artists in the evolution of post-Byzantine painting and in the incorporation of Western elements into the traditional language of icons. These connections should be understood solely as historical and stylistic references, without implying direct attribution to these masters. The painted surface exhibits craquelure, wear, losses of polychromy, and small gaps in different areas.Particularly visible are the edges, background, and some garments, as well as signs of aging in the support, which indicate the need for a direct assessment of its state of conservation. The work provides valuable evidence of the continuity of Byzantine iconography in the Eastern Mediterranean during the Early Modern period and of the interaction between Greek and Venetian artistic traditions. This lot is in an international warehouse (outside the EU). For shipments to the European Union, import duties and/or taxes will be applicable and are the responsibility of the buyer.

Stima:€2,000

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