Who painted Assumption of the Virgin?

Assumption of the Virgin was painted by Giacomo Bossi in 1750.

Where can I see Assumption of the Virgin?

Assumption of the Virgin is held by Victoria and Albert Museum.

Artwork

Assumption of the Virgin

Assumption of the Virgin is a print by Giacomo Bossi. It dates from 1750 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

This 18th‑century print, executed by Giacomo Bossi, illustrates the Assumption of the Virgin followed by her coronation in heaven. The image is a direct adaptation of a composition originally devised by Raphael, reproduced here as a monochrome work on paper. The composition is divided into two registers, juxtaposing a celestial gathering above with a terrestrial scene below.

Subject & Meaning

The upper register presents a heavenly assembly of robed figures seated upon clouds, a pointing male figure directing attention upward, and a woman gazing downward, all surrounded by winged angels bearing floral motifs. Below, a larger group kneels around a table laden with coins, their eyes lifted toward a radiant, haloed Virgin, suggesting both earthly devotion and divine reward.

Technique & Style

Bossi employs chiaroscuro to model the figures, using strong contrasts of light and shadow that give the forms a three‑dimensional presence against the flat paper background. The print’s line work delineates drapery and cloud forms, while the delicate hatching creates atmospheric depth, reinforcing the separation between the celestial and terrestrial realms.

History & Provenance

Created in the 1700s, the print reflects the continued popularity of Raphael’s religious schemes during the Baroque period. It was likely produced for devotional circulation, offering a portable visual of a key Catholic narrative. The work remains attributed to Giacomo Bossi, a lesser‑known printmaker who specialized in reproducing celebrated compositions for a broader audience.

Context

The Assumption and Coronation of the Virgin were central themes in Counter‑Reformation art, emphasizing the Virgin’s elevated status and intercessory power. By rendering Raphael’s composition in print, Bossi made the imagery accessible beyond the confines of frescoed altarpieces, aligning with the era’s expanding print market and the desire to disseminate orthodox visual doctrine.