The Deaf-Mute Filippo Viotti's Vision of the Virgin Mary
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Painting by Moretto da Brescia
The Deaf-Mute Filippo Viotti's Vision of the Virgin Mary (c. 1534) by Moretto da Brescia
The Deaf-Mute Filippo Viotti's Vision of the Virgin Mary is an oil on canvas painting by Moretto da Brescia, executed c. 1534, displayed in the Santuario della Madonna at Paitone in the Province of Brescia, Italy. It is first recorded in 1648 by Carlo Ridolfi, who wrote that "in the church atop Monte Paitone one can still admire a miraculous image of the Virgin which Moretto made at the request of that town for such a miracle".[1]
It shows Viotti's vision of the Virgin Mary in August 1532 and his resulting miraculous cure. It belongs to the artist's mature period but is separate from his style of that time due to its attempt to be as faithful a reproduction of the miracle as possible. It is marked by the Virgin's flowing robes, the very precise artistic rendering and the extremely concrete nature of the figures, where the sacred is totally translated into the real and no obviously miraculous elements are shown.[2]
Michele Biancale, Giovanni Battista Moroni e i pittori bresciani in "L'arte", anno 17, Roma 1914
Joseph Archer Crowe, Giovanni Battista Cavalcaselle, A history of painting in North Italy, Londra 1871
Gustavo Frizzoni, Recensione dei pittori italiani - Le Gallerie di Monaco e Dresda in "Archivio storico dell'arte", anno 6, 1893
Valerio Guazzoni, Moretto. Il tema sacro, Brescia 1981
Giovanni Morelli, Le opere dei maestri italiani nelle Gallerie di Monaco, Dresda e Berlino, Bologna 1886
Fausto Lechi, Gaetano Panazza, La pittura bresciana del Rinascimento, catalogo della mostra, Bergamo 1939
Pier Virgilio Begni Redona, Alessandro Bonvicino - Il Moretto da Brescia, Editrice La Scuola, Brescia 1988
Carlo Ridolfi, Le maraviglie dell'arte Ouero le vite de gl'illvstri pittori veneti, e dello stato. Oue sono raccolte le Opere insigni, i costumi, & i ritratti loro. Con la narratione delle Historie, delle Fauole, e delle Moralità da quelli dipinte, Brescia 1648
Assumption of the Virgin is a 1524-1526 oil on canvas painting by Moretto da Brescia, displayed as the high altarpiece in the Old Cathedral in Brescia.
Supper in the House of Simon the Pharisee is a 1544 oil on canvas painting by Moretto da Brescia, now in the Chiesa della Pietà in Venice, Italy.
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Madonna and Child with Saints is an oil painting on canvas by Moretto da Brescia, executed c. 1540, now displayed on an altar below the organ at the Church of San Giorgio in Braida in Verona, Italy. It shows the female martyrs Catherine of Alexandria, Lucy, Cecilia, Barbara and Agnes. It was commissioned in 1540 by the canons of the San Giorgio Monastery and is still in its original location. It was first recorded in 1648 by Carlo Ridolfi, though he and later sources were not precise as to its location.
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The Rovelli Altarpiece is a 1539 oil on canvas painting by Moretto da Brescia, which since 1899 has been in the Pinacoteca Tosio Martinengo in Brescia, Italy. Strongly influenced by Titian, it is named after the schoolmaster Galeazzo Rovelli who commissioned it for the church of Santa Maria dei Miracoli in Brescia in 1539, where it remained until being removed in the 19th century and replaced by a copy. Its composition was reused by Moroni in his Mystic Marriage of Saint Catherine in the 1560s.
The Assumption Altarpiece was a 1529-1530 multi-panel painting by Moretto da Brescia. It is mainly oil on panel, although the two angels on the cornice are in tempera grassa verniciata.
Portrait of Fortunato Martinengo Cesaresco is a 1542 oil on canvas painting by Moretto da Brescia, now in the National Gallery, London. The use of X-ray photography during a 1973 restoration showed a table in front of the man with an open book on it.
Portrait of a Gentleman with a Letter is a 1535–1540 painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia, to which it was given in 1854. No record of it before that dates survives, though some art historians have identified it with a lost Portrait of Pietro Aretino recorded in correspondence.
Portrait of a Man is an oil on canvas painting by Moretto da Brescia, dated of 1526, now in the National Gallery, London, which acquired it in 1876 from the Fenaroli Avogadro Collection, from Brescia. It is held to be the first surviving standing life-size portrait in art history, predating those of Titian.
St Antony the Abbot is a 1530-1534 oil on canvas painting of Antony the Great by Moretto da Brescia on display on one of the side-altars in the Santuario della Madonna della Neve in Auro, Casto, Province of Brescia, Italy.
St Anthony of Padua with Two Saints is a c.1530 oil on canvas painting by Moretto da Brescia, now in the Pinacoteca Tosio Martinengo in Brescia. The other two saints shown are Antony the Great and Nicholas of Tolentino.
St Margaret of Antioch with Two Saints is a 1530 oil on panel painting by Moretto da Brescia on display on the side-altar of St Jerome in the church of San Francesco in Brescia. To the left of Margaret of Antioch is shown Saint Jerome, whilst to the right is Francis of Assisi.
St Justina of Padua with a Donor is an oil on panel painting by Moretto da Brescia, executed c. 1530, now in the Kunsthistorisches Museum in Vienna, to which it was transferred in the late 19th century soon after the Museum's opening. It shows Justina of Padua.
The Standard of Our Lady of Mercy is a 1520-1522 oil on canvas painting by Moretto da Brescia, now in the Tempio Canoviano in Possagno. It is made up of two canvases, now separated one showing Our Lady of Mercy and the other shows The Prophets Enoch and Elijah.
Massacre of the Innocents is an oil painting by Moretto da Brescia, executed in 1531–1532, originally painted on panel but later transferred to canvas. It is on display on a side altar in San Giovanni Evangelista church in Brescia.
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