Currently on View in H214
Unlike earlier painters of this traditional subject, Nosadella aimed for neither "sweetness" nor "devoutness," qualities that contemporaries desired in devotional paintings by artists like Bellini and Francia. Nosadella's work was instead valued for its power and erudition. He invests his figures with an almost grotesque muscularity and packs the composition with a sense of congested intimacy that borders on awkwardness. The central act of the Virgin's presentation of the Christ Child is literally inverted, so that her back is turned and her restless child reaches backward toward the viewer.
Provenance research is on-going at the Indianapolis Museum of Art at Newfields. Please contact Annette Schlagenhauff, Curator of European Art, at firstname.lastname@example.org if you have questions, or if you have additional information to share with us.