Saint Charles Borromeo by Orazio Borgianni
Orazio Borgianni (1574 – 1616) was an Italian painter and etcher of the Mannerist and early-Baroque periods. He was born in Rome, and instructed in the art of painting by his brother, Giulio Borgianni, called Scalzo.
The patronage by Philip II of Spain induced him to visit Spain, where he signed an inventory in January 1605. He returned to Rome from Spain in 1605, at the height of his career, and his most mature work was developed between 1605 and 1616.
From his time in Spain, there are two remaining paintings at Prado Museum: St Christopher and the Stigmatization of St Francis and also an attributed selfportrait of youth. Not far from Prado, in Madrid, the Real Academia de Bellas Artes de San Fernando owns a David and Goliath.
On his return to Rome he was patronized by the Spanish ambassador, for whom he painted several pictures, and he was also employed in painting for the churches. He painted as late as 1630, after which he returned to Spain.
His canvas of San Carlo Borromeo in the church of San Carlo alle Quattro Fontane (1612) is an eclectic and emotive synthesis of both Carracci and tenebrist styles. The influence of Caravaggio is also evident in a painting of the same saint (1616) now in the Hermitage Museum.
Borgianni's altarpiece for San Carlo alle Quattro Fontane, the church of the Discalced Trinitarians, was probably already installed when the building was consecrated on 2 June 1612. At that time, the order's two founders, Felix de Valois and Jean de Matha, had not yet been canonised. They could only be worshiped in public after 1666, once the process had been completed. This did not mean, however, that a cult could not develop around them earlier. The order, established for the express purpose of buying the freedom of Christian slaves, was consecrated to the Holy Trinity. One of the most important 'new' saints of the period was Carlo Borromeo, who had been canonised in 1610. Borromeo came from Milan, which was then under Spanish rule. The Trinitarians, too, had close ties with Spain, and between 1598 and 1606 Borgianni himself had spent time in Pamplona, Madrid, Valladolid and Toledo. It is therefore not at all surprising that the commission for the recently finished church went to him, and that the church itself was not only dedicated to the Holy Trinity but to this new saint as well.
In the altarpiece Carlo Borromeo is seen in full length, his left hand at his breast and his other open, pointing downwards. The Holy Trinity is depicted at the upper left. This combination might seem surprising. Although Carlo Borromeo was particularly devoted to the Passion, in Borgianni's painting he is presented as a true devotee of the Trinity, which in this context is understandable. The saint clearly demonstrates that his devotion is affective and that it comes directly from a pious heart. He is an example for all the Trinitarian brothers living in the monastery to imitate. Moreover, the altarpiece signaled the political leanings of the order towards the Spanish-Lombard faction. Remarkably enough the Trinitarians did exactly the same as the Barnabites who in their San Carlo ai Catinari used the image of Carlo Borromeo to show their spiritual affiliations.
In 1614 the saint's heart was triumphantly brought to the church of Santi Carlo e Ambrogio al Corso. This intensified the cult around the great Milanese cardinal, which now centred on his mystically inspired, secular charity. The saint's gesture in Borgianni's altarpiece is a conscious reference to this new, modernised cult. The order's propagandistic aims and the desire for a public avowal of their particular brand of spirituality thus determine the look of Borgianni's painting.
The painting of St Carlo Borromeo by artist Orazio Borgianni is a stunning work of art that has captivated art lovers for centuries. The work of art, which measures 217 x 151 cm, presents the saint in a majestic and solemn pose, reflecting the importance of the religious figure at the time.
One of the most notable features of the painting is its artistic style, which is characterized by the chiaroscuro technique, a technique that uses light and shadow to create depth and realism in the work. Furthermore, the painting presents a high degree of realism, suggesting that the artist had great mastery of his craft.
The composition of the painting is also impressive, as the saint is in the center of the work, surrounded by a series of secondary religious figures. The composition is symmetrical and balanced, which gives the painting a harmonious and well-structured appearance.
In terms of color, the painting uses a rich and vibrant color palette, giving the work a sense of vitality and energy. Warm, earthy tones are used to represent the figure of the saint, while cooler tones are used to represent the secondary figures.
The history of the painting is equally interesting. The work was commissioned by the Catholic Church in the 17th century and was used to promote the figure of St Carlo Borromeo, who was considered an important saint at the time. The painting was displayed in several churches and cathedrals in Italy, where it became an object of popular devotion.
In summary, Orazio Borgianni's painting of St Carlo Borromeo is a stunning work of art that combines masterful technique, balanced composition, and a vibrant color palette to create a work of art that remains relevant and attractive today.
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