This elegant work was created around 1655 when Carlo Dolci was 39 years old. The dark background yields to a faint light surrounding a beautifully sad image of the Madonna, wrapped in a blue robe created in deep lapis lazuli pigment. These factors all conspire to deeply appeal to the viewer. According to F. Bardinucci, the first to write a detailed biography of Dolci, from an early age Dolci was deeply faithful and was a lifelong member of the Order of St. Benedict. In addition to his large-scale religious works, around 1650 he began to paint relatively small-scale works depicting various half-length portraits of saints. This work is an extremely fine example of this type. The model for this image of the Madonna with folded hands can be found in the Madonna images of Titian, and the source for Titian's images may be found in the images of the Madonna that were extremely popular in Spain during the 16th-17th centuries. Dolci's paintings of the Madonna in this style became quite popular; there is one known extant copy of this work and other images of the Madonna with slightly different compositions are known. For many years the model for this painting was thought to be the painter's wife Teresa Bucherelli, whom he married in 1654, but comparisons with known portrait drawings of his wife reveal some questions about this attribution of the sitter. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 22)


  • Title: Mater Dolorosa
  • Date Created: ca. 1655
  • Location Created: Italy
  • Signatures, Inscriptions, and Markings: Inscribed on the reverse: REGINA MARTIRUM ORA PRO NOBIS
  • Provenance: Possibly the like-sized oval Madonna from the Colonna Collection, Palazzo Colonna, Rome; sold in London by W. Young Ottley, 24 January 1801, lot 12; Carlo Dorci Madonna Dolorata Oval-2 ft. 8 ins. high by 2 ft. 2 ins. wide; Duke of Buckingham and Chandos until 1848; Lord Dudley and Ward 1848-1892; Christie's London, 8 December 1892, lot 60, bt by Mr. Dunthorne.
  • Physical Dimensions: w670 x h825 mm
  • Painter: Carlo Dolci
  • Object title (Japanese): 悲しみの聖母
  • Object notes (Japanese): 本作品は1655年頃、カルロ・ドルチ39歳の時の佳品である。暗い背景に浮かぶ淡い光背に包まれ、深みのあるラピスラズリで描かれた、青のマントを身にまとった聖母マリアの美しくも悲痛な表情は、観者の心に深く訴えかけるものがある。カルロ・ドルチの詳細な伝記を最初に残したフィリッポ・バルディヌッチ(1625-1695)によれば、彼は子供の頃から敬虔な信仰の人で、生涯聖ベネディクトゥス信者会に属していたという。彼は1650年頃から大型の宗教画に加え、聖人の姿を寸法の比較的小さい様々な半身像として描くようになるが、中でも本作品は質の点においてきわめて優れた作品である。両手を合わせた聖母の構図はティツィアーノの聖母像にその原型を認めることができるが、むしろティツアーノの作品を原型として16-17世紀にスペインで人気を博した聖母像の形式をふまえたものと考えられる。ドルチのこうした聖母像はたいへんな人気を博し、現在本作品からの模写と考えられる作品が1点、さらに構図の若干異なる聖母像が模写も含め数多く知られている。長いこと本作品の聖母のモデルは1654年に結婚した妻テレーザ・ブケレッリと考えられているが、自筆デッサンの中にあるテレーザの肖像デッサンと比較した場合、その同一性に対する疑問も指摘されている。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 22)
  • Artist Name (Japanese): ドルチ、カルロ
  • Type: Paintings
  • Rights: http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Oil on canvas

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