2007 Catalogue - Colnaghi

The Madonna is similar in composition to a number of
works by Dolci, variously identified as the Madonna
addolorata or the Madonna del dito; the former when
her clasped hands are also included in the composition,
the latter when her finger emerges from her drapery
(as in our picture). It was arguably Dolci’s most
popular composition and several autograph, studio and
later replicas exist. The prime original of both
Madonna types is generally considered to be the
painting formerly at Stowe, dated by Baldassari to circa
1655, which shows the Madonna with clasped hands. 5
The particular representation of the Madonna seen in
our picture, with the finger protruding from the
drapery is, however, almost identical to that in the
1681 ‘diptych’ in Copenhagen mentioned above,
which was painted three years later than our picture.
Her drapery falls in identical folds, her expression is
similar, as is the porcelain-like rendering of her face
and the golden aureole behind the crown of her head.
The only difference between the two works is the
inclusion of her finger which, given its slightly weaker
execution, might have been an afterthought. There are
also another versions of this subject in the Corsini
Gallery, Rome6 and a copy in the Borghese Gallery in
Rome7 which attest to the contemporary popularity of
this powerful devotional image.
Our pair of paintings originally hung alongside a third
canvas, of similar dimensions and also octagonal,
representing The Archangel Gabriel. That work is of
inferior quality and was probably painted by an artist
active in Dolci’s studio, perhaps commissioned by
a patron who wished to own a ‘triptych’ rather than
a ‘diptych’.
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Carlo Dolci was a pupil of Jacopo Vignali, and
although he painted numerous portraits, he is perhaps
best known for his religious scenes, many of which
were copied by his pupils Loma Mancini and his
daughter Agnese. Dolci’s use of soft, delicate colours,
his great attention to detail, and his passion in the
rendering of his subject’s devout facial expression all
contribute to the sensitivity and emotional
expressiveness of his paintings.