Francesco Paglia attr.
Holy Family
Olio on canvas
in 28,74x38,58
The scene depicts the Virgin Mary, Saint Joseph, and the Infant Jesus, in keeping with the traditional iconography of the Holy Family. The composition is intimate and contemplative, perfectly in tune with the spiritual and devotional style typical of Francesco Paglia. Mary is placed at the center of the scene, leaning toward the Child with a gaze full of sweetness and maternal love. Her face is idealized—serene and composed framed by a white veil that softly drapes over her shoulders. The Infant Jesus is swaddled, either asleep or just awakened, resting on His mother’s lap. His expression is peaceful, and His body is painted with delicacy and naturalism. Saint Joseph stands behind the Virgin, partially obscured, observing the scene with discretion and reverence. His mature features and white beard clearly identify him. The composition is arranged within a painted oval, a recurring element in Francesco Paglia’s oeuvre, which lends the work a devotional and private tone, as if it were intended for domestic meditation. The setting is sober, with a dark and undefined background that highlights the figure of the saint within the oval, almost like a framed portrait.
This is a mature work, attributable to the late period of Francesco Paglia’s (Brescia, 1635–1714) artistic production. This is evident through stylistic parallels with other works of similar typology found in the city of Brescia such as the cycle of roundels of saints painted toward the end of the century for the Basilica of the Madonna delle Grazie, and a depiction of Saint Eurosia housed in the Diocesan Seminary. Several stylistic hallmarks of Paglia are present here: in this Holy Family, the abundant detailing of the drapery folds—a distinctive feature of his painting is notable. Also characteristic is the tendency to flatten the background, clearly aiming to emphasize the narrative subjects through the skillful use of soft lighting and veiled color.
From the critical analysis, Dott. Michele Peli
The painting is accompanied by:
Expertise Dott. Michele Peli
in 28,74x38,58
Private collection
The painting, relined, has recently undergone conservative restoration. Minor signs of retouching from previous restorations are visible.
Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each product to satisfy themselves as to condition and must understand that any statement made by Coradi Rare Finds is merely a subjective opinion.
Paglia Francesco, Brescia 1635 - Brescia 1714; trained in his hometown and was a pupil of Guercino, from whom he absorbed the Emilian style, though he reinterpreted it in a more restrained and intimate manner, in line with the aesthetics of the Lombard school. He played a significant role in the artistic and cultural life of Brescia between the late 17th and early 18th centuries. Paglia was also an art writer; one of his most important contributions is the manuscript "Il Giardino della Pittura" ("The Garden of Painting"), a fundamental text for understanding the artists active in 17th-century Brescia, later completed by his son Antonio Paglia. Francesco Paglia’s style reflects the characteristics of the Lombard Baroque. Sober yet intense compositions. Religious figures imbued with spirituality and pathos. Strong focus on devotional and mystical aspects of sacred subjects. An intimate approach, often featuring calm, absorbed figures placed in minimally narrative but emotionally charged spaces. Paglia worked primarily for churches and confraternities in Brescia and the wider Lombard region.
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