Who painted An Allegorical Figure: Non sine labore?

An Allegorical Figure: Non sine labore was painted by Cherubino Alberti in 1628.

Where can I see An Allegorical Figure: Non sine labore?

An Allegorical Figure: Non sine labore is held by National Gallery of Art.

What movement is An Allegorical Figure: Non sine labore?

An Allegorical Figure: Non sine labore is associated with Baroque.

Artwork

An Allegorical Figure: Non sine labore

Cherubino Alberti , 1628

An Allegorical Figure: Non sine labore is an ink print by the Baroque artist Cherubino Alberti. It dates from 1628 and is held in the collection of the National Gallery of Art.

About this work

Overview

Cherubino Alberti’s 1628 etching, titled *An Allegorical Figure: Non sine labore*, presents a winged cherub in an animated stance. The figure holds a feather in the right hand and a ribbon in the left, surrounded by swirling ribbons, clouds, and a Latin banner bearing the phrase “Non sine labore.” The composition conveys a sense of imminent motion, as if the cherub is poised to ascend.

Subject & Meaning

The central cherub embodies the theme suggested by the inscription, “Non sine labore,” meaning “not without labor.” By juxtaposing the lightness of wings and feather with the tangible ribbon, the image suggests that effort underlies even the most ethereal achievements. The surrounding clouds and flowing ribbons reinforce the idea of a celestial realm where work and divine grace intersect.

Technique & Style

The intricate shading creates a three‑dimensional effect, while the crisp outlines define the cherub’s dynamic pose.

Executed in fine etching, Alberti employs delicate line work and subtle cross‑hatching to render texture and depth. The intricate shading creates a three‑dimensional effect, while the crisp outlines define the cherub’s dynamic pose. The interplay of light and shadow, together with the precise rendering of clouds and ribbons, showcases the artist’s mastery of the medium’s capacity for detail and movement.

History & Provenance

Created in 1628, the print reflects Alberti’s engagement with allegorical subjects common in early‑17th‑century Italian art. While specific ownership records are scarce, the work has been documented in several catalogues of Alberti’s prints and appears in collections that focus on Baroque-era etchings, indicating its circulation among connoisseurs of the period.