Who painted Stigmatisation der hl. Theresa?

Stigmatisation der hl. Theresa was painted by Felice Torelli in 1707.

Where can I see Stigmatisation der hl. Theresa?

Stigmatisation der hl. Theresa is held by Bavarian State Painting Collections.

What movement is Stigmatisation der hl. Theresa?

Stigmatisation der hl. Theresa is associated with Barbizon school.

Artwork

Stigmatisation der hl. Theresa

Felice Torelli , 1707

Stigmatisation der hl. Theresa is an unspecified painting by the Barbizon school artist Felice Torelli. It dates from 1707 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Painted in 1707 by Felice Torelli, this work depicts the stigmatization of Saint Theresa. Executed in oil on canvas, it is part of the collection at the Alte Pinakothek in Munich. The painting reflects the Baroque tradition of religious narrative, emphasizing spiritual intensity through dramatic composition and luminous detail.

Subject & Meaning

The scene portrays Saint Theresa receiving the stigmata—the wounds of Christ—as a divine sign of her spiritual union with the Savior. Angels hover above, guiding the moment of revelation. The imagery underscores themes of sacrifice and mystical devotion, common in Counter-Reformation art, where personal sanctity was visually reinforced to inspire faith.

Technique & Style

Torelli employs rich, warm pigments and soft chiaroscuro to model the figures with gentle volume. The drapery flows in fluid folds, while the celestial elements are rendered with delicate brushwork. The composition directs the viewer’s gaze upward, reinforcing the heavenly origin of the stigmata through diagonal lines and elevated light sources.

History & Provenance

The painting was completed in 1707 and entered the Bavarian royal collection before being transferred to the Alte Pinakothek. Its documented provenance traces back to early 18th-century Italianate circles in Munich, where Torelli’s religious works were valued for their devotional clarity and technical polish.

Context

Torelli worked during a period when southern German patrons favored Italianate religious imagery. His style, influenced by Venetian colorism and Bolognese draftsmanship, aligned with Counter-Reformation goals of making sacred experiences tangible. This painting fits within a broader trend of depicting female mystics as models of piety for contemporary audiences.

Legacy

Though not widely reproduced, the painting remains a representative example of early 18th-century Baroque religious art in southern Germany. It contributes to the understanding of how Italian artistic conventions were adapted in regional contexts to serve devotional and educational purposes within Catholic communities.