Claudio Ridolfi (1570 ca.-1644)
Adorazione dei Pastori XVII sec.
painter from Verona moved to Le Marche after apprenticing at Paolo
Veronese workshop in Venetia. He acquired the sublime dialect of the Barrocci brush in a magnificent
sample of the melting of luministic-chromatic values of the Venetian
painting and Le Marche compositive intimacy.
night setting is contemplated by the words of the Gospel
by Luke 2, 1-20, that tells of the announcement of the angel to the
shepherds "that waited in the night” that came to find "a baby
wrapped in swaddling cloths in a manger”.
the middle of the composition the sweet Holy Virgin prays above the new born
Baby, already the Saviour of the World. She is surrounded by shepherds on her
right and by her spouse Joseph on her left. He stares at Jesus and he tries not
to invade the space of holy intimacy created between Mary and her Son.
light that pervades the figures in focus comes through an opening in the clouds.
symbolize the Grace of the Holy Spirit as Trinitarian presence in the
shepherds bring the fruits of their work to the Infant like three Kings of
poverty. They turn the richness of the presents in richness of the spirit:
humility is their human condition and their promptness in hailing the
announcement of the birth of Christ makes them preferred and chosen as the first
worshippers of the Saviour.
Taken from the iconography of the Magi, the shepherd on the left is knelt while
the other two are standing waiting to adore the Infant. The latter hold pipes on
their shoulders: As Luke writes "then
the shepherds went back glorifying and praising the All Mighty” music
becomes the symbolic element to show the praise to God in Jesus Christ. The
melody is still dumb for the incarnation of the poor King among the poorest
celebrate in the silence of the mistery.
by Guendalina Santini
2007Liberation Ventures Ltd.