Virgin and Child with a Rosary

Painting by Artemisia Gentileschi

You can help expand this article with text translated from the corresponding article in Italian. (January 2023) Click [show] for important translation instructions.

Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Italian Wikipedia article at [[:it:Madonna col Bambino e un rosario]]; see its history for attribution.
You may also add the template {{Translated|it|Madonna col Bambino e un rosario}} to the talk page.
For more guidance, see Wikipedia:Translation.

Virgin and Child with a Rosary

Artist	Artemisia Gentileschi
Year	1651
Medium	Oil on copper
Dimensions	59.5 cm × 38.5 cm (23.4 in × 15.2 in)
Location	El Escorial, San Lorenzo de El Escorial

Virgin and Child with a Rosary (Italian: Madonna e Bambino con rosario) is one of the last known paintings by the Italian artist Artemisia Gentileschi. Small in size and painted with oil on copper, it was completed in 1651. It was part of the Spanish royal collection and currently hangs in the El Escorial collection, in Spain.

Provenance

The painting is first mentioned in a 1749 inventory at La Granja, and was transferred to its current location by 1857.^[1] Recent research shows it was part of the collection of Maria Anna of Pfalz-Neuberg, second wife of Charles II, suggesting it may have been associated with Charles' father Philip IV.^[2]

Attribution

There has been some debate as to whether the painting is actually by Gentileschi, despite her signature appearing across the edge of the table. One scholar pointed to the use of bright red, blue and green in the painting, which Gentileschi does not use elsewhere. However, the 2001 catalogue for the exhibition at the Metropolitan Museum of Art, suggests the painting is by Gentileschi, and that it draws heavily on early devotional pictures by the artist Guido Reni.^[1] The stylistic shift may represent a deliberate tactic to appeal to the taste of the patron.^[3]

References

^ ^a ^b Christiansen & Mann 2001, p. 427.
^ Locker 2015, p. 34.
^ Locker 2015, p. 35.

Sources

Christiansen, Keith; Mann, Judith Walker (2001). Orazio and Artemisia Gentileschi. New York; New Haven: Metropolitan Museum of Art ; Yale University Press. ISBN 1588390063.
Locker, Jesse (2015). Artemisia Gentileschi : the Language of Painting. New Haven: Yale University Press. ISBN 9780300185119.

Artemisia Gentileschi

Paintings

1610s	Susanna and the Elders (Pommersfelden) Madonna and Child (Rome) Judith Beheading Holofernes (Naples) Danaë Portrait of a Nun Allegory of Inclination Judith and her Maidservant (Florence) Self-Portrait as a Lute Player Self-Portrait as a Female Martyr Self-Portrait as Saint Catherine of Alexandria Mary Magdalene Mary Magdalene in Ecstasy Saint Catherine of Alexandria
1620s	Cleopatra (Milan) Cleopatra (Ferrara) Portrait of a Lady, dressed in a gold embroidered costume Jael and Sisera Saint Cecilia Allegory of Painting Judith Slaying Holofernes (Florence) Mary Magdalene as Melancholy Susanna and the Elders (Stamford) Portrait of a Gonfaloniere Portrait of a Lady Holding a Fan Lucretia (Milan) Christ Blessing the Children Medea Penitent Magdalene Judith and Her Maidservant (Detroit) Venus and Cupid Esther Before Ahasuerus Lucretia (Los Angeles) Aurora
1630s	Annunciation (Naples) Corisca and the Satyr Self-Portrait (Rome) Clio, Muse of History The Birth of Saint John the Baptist Lot and His Daughters Bathsheba (Columbus) Cleopatra (Rome) Saint Januarius in the Amphitheatre at Pozzuoli Adoration of the Magi Saints Proculus and Nicea Self-Portrait as the Allegory of Painting David and Goliath Christ and the Woman of Samaria Judith and her Maidservant with the Head of Holofernes Susanna and the Elders (London) Susanna and the Elders (private collection)
1640s	Susanna and the Elders (Brno) Lucretia (Potsdam) Judith and her Maidservant (Naples) Judith and her Maidservant (Cannes) Saint Apollonia
1650s	Susanna and the Elders (Bologna) Virgin and Child with a Rosary