Giovanni Pietro Rizzoli, called Giampietrino, Milan 1480 or 1485 - 1553
Madonna nursing the Christ Child with Saint Anne
Oil on panel
25⅜ by 20⅛ in.; 64.5 by 51.1 cm.
Private collection
Sold for 252,000 USD in January 2023
Sitting on a stone parapet, the Virgin, in the pose of a Madonna lactans, nurses the infant Jesus as her own mother stands behind. The two women offer contrasting emotional responses to Christ’s ultimate fate: Saint Anne, shown with wizened features, stares stoically into the distance, while the Madonna diverts her tear-filled eyes from the child who lays across her lap. He, in turn, gazes at the viewer with innocent (or is it omniscient?) composure, seemingly content to nurse from his mother’s breast. Yet while his chubby body and energetically infantile pose speak to his childlike nature, the apple in his right hand recalls Eve’s original sin, the root of his own eventual sacrifice. More on this painting
According to Christian apocryphal and Islamic tradition, Saint Anne was the mother of Mary and the maternal grandmother of Jesus. Mary's mother is not named in the canonical gospels. In writing, Anne's name and that of her husband Joachim come only from New Testament apocrypha, of which the Gospel of James seems to be the earliest that mentions them. The mother of Mary is mentioned but not named in the Quran. More on Saint Anne
The Nursing Madonna, Virgo Lactans, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. In Italian it is called the Madonna del Latte ("Madonna of milk"). It was a common type in painting until the change in atmosphere after the Council of Trent, in which it was rather discouraged by the church, at least in public contexts, on grounds of propriety
In the Middle Ages, the middle and upper classes usually contracted breastfeeding out to wetnurses, and the depiction of the Nursing Madonna was linked with the Madonna of Humility, a depiction that showed the Virgin in more ordinary clothes than the royal robes shown, for instance, in images of the Coronation of the Virgin, and often seated on the ground. More on The Nursing Madonna
Giampietrino, probably Giovanni Pietro Rizzoli (active 1495–1549), was a north Italian painter of the Lombard school and Leonardo's circle. Giampietrino was a very productive painter of large altarpieces, Madonnas, holy women in half figure, and mythological women. For a long time, the true identity of the artist was unknown; he was only known as a so-called "Giampietrino" whose name appeared in lists of the members of Leonardo's studio. In 1929, Wilhelm Suida suggested that he could perhaps be Giovanni Battista Belmonte, since a Madonna signed with this name and dated 1509 had been associated stylistically with Giampietrino. Since then, this assumption is considered outdated, and Giampietrino is identified predominantly with Giovanni Pietro Rizzoli, who is known through documents.
Giampietrino has been regarded as a talented painter who contributed substantially to the distribution of the late style of Leonardo da Vinci. He copied numerous masterpieces by Leonardo, as well as leaving behind numerous capable original compositions of his own. Many of his works are preserved in multiple versions of the same subject. More on Giovanni Pietro Rizzoli
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