Who painted Maria mit dem Kind und den Hl. Maurelius und Georg?

Maria mit dem Kind und den Hl. Maurelius und Georg was painted by Carlo Bononi in 1610.

Where can I see Maria mit dem Kind und den Hl. Maurelius und Georg?

Maria mit dem Kind und den Hl. Maurelius und Georg is held by Kunsthistorisches Museum.

Can I buy a print of Maria mit dem Kind und den Hl. Maurelius und Georg?

Museum-quality prints of Maria mit dem Kind und den Hl. Maurelius und Georg are available made-to-order from Artifact World Gallery.

Artwork

Maria mit dem Kind und den Hl. Maurelius und Georg

Carlo Bononi , 1610

Maria mit dem Kind und den Hl. Maurelius und Georg is an unspecified painting by Carlo Bononi. It dates from 1610 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

Carlo Bononi’s canvas, dated to around 1610, presents the Virgin Mary with the infant Jesus accompanied by Saints Maurelius and George. Executed in the early Baroque period, the work now belongs to the collection of the Kunsthistorisches Museum in Vienna. It exemplifies the devotional imagery that dominated much of Bononi’s output during the final phase of his career in Ferrara.

Subject & Meaning

The central figure of Mary holding the Christ Child reflects traditional Marian devotion, while the flanking saints serve as intercessors. Saint Maurelius, a local martyr, and Saint George, famed for his dragon‑slaying legend, underscore themes of protection and spiritual triumph, inviting viewers to contemplate both personal piety and communal identity.

Technique & Style

Bononi employs a restrained palette of earthy tones, softened by chiaroscuro that models the figures with gentle modeling. The composition balances vertical stability with a subtle diagonal thrust from the child’s gesture, a hallmark of the transitional style bridging late Mannerism and early Baroque sensibilities in the Ferrara school.

History & Provenance

First recorded in the early 19th century, the painting entered the Austrian imperial collection before being assigned to the Kunsthistorisches Museum. An 1876 art historical survey cites Bononi as one of the last significant painters from Ferrara, indicating the work’s importance in tracing the city’s artistic decline after the Este court’s relocation.

Context

Created during a period when Ferrara’s court patronage waned, the painting reflects a continued demand for ecclesiastical commissions. Its subject aligns with Counter‑Reformation directives that emphasized clear, emotionally resonant religious narratives, a trend that Bononi and his contemporaries embraced to reinforce Catholic doctrine.