19 - A follower of Carlo Dolci (Florence, 1616–1686).

A follower of Carlo Dolci (Florence, 1616–1686). “Our Lady of Sorrows.” Oil on canvas. Relined. It has minor imperfections. Measurements: 50 x 40 cm; 67 x 57 cm (frame). Provenance: Estate of Ramon Martí Alsina and Ricard Martí Aguiló. Artistic and heritage collection originating in the legacy of Catalan painters Ramon Martí Alsina (1826–1894), a seminal figure of 19th-century Catalan Realism, and his son Ricard Martí Aguiló (1857–1935). Passed down and enriched across successive generations, the collection brings together works from the original holdings of both artists alongside acquisitions made by their descendants. Dedicated to preserving and recovering the family legacy, the descendants actively reacquired works by the painters as they entered the market, progressively expanding the collection to encompass paintings, sculptures, archaeological artifacts, and other items of artistic and historical significance. The Dolorosa is a Virgin of Calvary, witnessing the suffering and death of her son. This devotion to the Sorrows of the Virgin has its roots in the Middle Ages and was particularly promoted by the Servite Order, founded in 1233. This iconography is characterized by depicting Mary alone, gazing upward toward the figure of Christ on the cross, her eyes filled with tears and a look of profound sorrow on her face. It is a very common theme in paintings intended for private devotion, as seen in this example, which is clearly devotional not only because of its subject matter but also because of its small size. In this type of work, the composition seen here—clear, balanced, and simple—is common, ensuring that the viewer’s gaze remains focused on the face that is the central figure of the work. Given the characteristics of the work—particularly regarding the style of the drawing, with the tight-pressed lips, the slender nose, and the eyes with broad eyelids—this painting can be attributed to the style of Carlo Dolci. A Florentine painter who entered Jacopo Vignali’s studio around 1625, his mastery of technique earned him a strong reputation from an early age. By the 1640s, demand for his work had grown so much that he often repeated compositions. Although most of his work features religious subjects, he also painted portraits. His style is characterized by its high degree of refinement and differs greatly from that of other contemporary Italian painters, as his works show a strong influence from the Dutch paintings to which he would have had access in the Medici collections.