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One of the very first works attributed to Raffaello. The processional standard of the “Santissima Trinità”.
The standard of the “Santissima Trinità” is a oil painting on canvas (166x94 cm per side) by Raffaello, dating back to about 1499 and kept in the Art Gallery of Città di Castello. This is one of the first works attributed to the artist, as well as Raffaello's only painting left in Città di Castello, where the artist worked between the end of the fifteenth and the beginning of the sixteenth century. The processional standard was painted for the “Chiesa della Trinità” of Città di Castello, in an unspecified time of the stay of the young painter, who went to Citta di Castello in place of his father, deceased in 1494.
Here, after the departure of Luca Signorelli, the talented painters were scarce, so it was easy for the promising artist, still bearing the Perugino’s style, to receive numerous commissions.
These include the mutilated altarpiece of “Beato Nicola da Tolentino”, now shared by several museums, the “Crocifissione Mond” at the National Gallery in London and “Lo Sposalizio della Vergine” at the Art Gallery of Brera.
The standard, in a bad state of preservation,was originally painted on both sides, which are now separated and exposed side by side: on the one hand, there is depicted the Trinity with the saints Rocco and Sebastian (recto) and on the other side the Creation of Eve (verso).
Surprising is the freshness of the work even though the debts towards Perugino (in the sweet landscape, in the symmetrical angels among fluttering ribbons) and Luca Signorelli (in the volumetric setting) are still very evident. New is instead, the security in the arrangement of the figures in the space, much more coherent than in his masters.
Here, after the departure of Luca Signorelli, the talented painters were scarce, so it was easy for the promising artist, still bearing the Perugino’s style, to receive numerous commissions.
These include the mutilated altarpiece of “Beato Nicola da Tolentino”, now shared by several museums, the “Crocifissione Mond” at the National Gallery in London and “Lo Sposalizio della Vergine” at the Art Gallery of Brera.
The standard, in a bad state of preservation,was originally painted on both sides, which are now separated and exposed side by side: on the one hand, there is depicted the Trinity with the saints Rocco and Sebastian (recto) and on the other side the Creation of Eve (verso).
Surprising is the freshness of the work even though the debts towards Perugino (in the sweet landscape, in the symmetrical angels among fluttering ribbons) and Luca Signorelli (in the volumetric setting) are still very evident. New is instead, the security in the arrangement of the figures in the space, much more coherent than in his masters.