45 - Italian School; 17th century.

Italian School; 17th century. “The Vision of Saint Clare.” Oil on canvas. Relined. Features a period frame. Measurements: 51 x 39 cm; 75 x 63 cm (frame). This painting depicts an episode from the mystical life of Saint Clare of Assisi, a central figure in Franciscan spirituality, whose iconography was particularly well-received in Baroque religious painting. The composition follows the model of *The Vision of Saint Clare*, painted by Giovanni Francesco Barbieri, known as Il Guercino (Cento, 1591–Bologna, 1666), between 1615 and 1621, and is housed in the State Hermitage Museum in St. Petersburg, with inventory number ??-156. The close compositional relationship with this work allows us to situate the painting within the dissemination of models by one of the most prominent artists of the 17th-century Bolognese school. This is not merely a repetition of a religious subject, but rather the transmission of a pictorial approach conceived to express one of the central themes of Baroque spirituality. What stands out first is that this is not a conventional depiction of Saint Clare, but rather a scene of a mystical vision centered on the appearance of the Infant Jesus, with a group of heavenly and earthly figures participating in the scene. The treatment of light plays an essential role in the construction of the scene. Selective lighting highlights the faces, hands, and garments of the main figures, while the background remains shrouded in deep shadow. This contrast between light and shadow lends the painting an atmosphere of contemplation and mystery, a hallmark of Italian Baroque naturalism. The color palette, dominated by earth tones, ochres, browns, and deep reds, is enriched by the light accents of the angels’ robes and wings. The result is a composition of remarkable narrative intensity, in which chiaroscuro helps distinguish the earthly space from the supernatural realm. Guercino was one of the most acclaimed Italian artists of the first half of the 17th century. He was born in the town of Cento, in the province of Ferrara. The main influences that shaped his style were the Bolognese artists—Ludovico Carracci, his cousin Annibale Carracci, and Ippolito Scarsella of Ferrara. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregory XV Ludovisi, he worked in his hometown until 1642, when he moved to neighboring Bologna. He was about twenty-five years old when he caught the attention of his first major clients, including Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany; and Duke Fernando Gonzaga of Mantua. By the mid-1620s, he had already turned down invitations to work outside Italy, including one from Charles I of England, among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni,