The paper "The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua" seeks to delve into the mastery of this piece, and its excellent execution. Cardinal Girolamo Verospi commissioned the painting by Giovanni Bennedetto Castiglione, “The Immaculate Conception with saints Francis of Assisi and Anthony Padua”, in 1649, for a new church in Osimo at the Capuchin monastery in Italy. Castiglione hailed from Genoa, and is understood to have studied under Sinibaldo Scorza. He was a passionate student of paintings by Paul Rubens and Anthony van Dyck, whose paintings were readily available in Genoa. Rembrandt also heavily influenced him. Castiglione was one of the earliest masters of monotype, while also being one of the earliest practitioners of Chiaroscuro woodcut art. He became known for combining emotion and high drama in his works with elements of Flemish naturalism and Venetian colorism. His earliest works include Noah’s ark, The Nativity of Christ, which is regarded as his best work, St. James defeats the Moorssfor and Mary Magdalene and Catherine among others. In 1649, he was commissioned to paint The Immaculate Conception with Saint Francis and Anthony of Padua. At this point, Castiglione was at the peak of his powers, having mastered the art of being a draftsman and also pioneering oil sketch development. The essential features of this painting include the Virgin Mary, based on “The Woman of the Apocalypse” in the book of Revelations. She is depicted standing.
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The essay analyzes the painting by Giovanni Bennedetto "The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua". The church was built as a dedication to the Virgin Mary, so the painting was commissioned to depict the Immaculate Conception. …
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