Adding a cultural influence to my work - The National Gallery

On the 31st of March 2015, I took a trip to London. I visited 3 Museums/Gallery's all in which inspired me in different ways.

The First was the National Gallery. It was here that i uncovered the beautiful work of Sassoferrato.

Giovanni Battista Salvi da Sassoferrato (August 25, 1609 August 8, 1685) was an Italian Baroque painter. He is often referred to only by the town of his birthplace (Sassoferrato), as was customary in his time, and for example seen with Da Vinci.
There are over three hundred works by Sassoferrato in public collections in 2006 throughout the world including almost all of his extent drawings in the British Royal Collection at Windsor Castle.
Sassoferrato's paintings consist for the most part of immaculately painted devotional images of the Virgin and Holy Family, usually repeated in several versions.

The details of Sassoferrato's biography is very sparse and so i will concentrate on how his works have inspired me.

I came across two of Sassoferrato's paintings which had a major impact on me. The first was this one:

The Virgin and child embracing (Sassoferrato 1609-1685)

The Virgin and child embrace intametely in this painting. This devotional work is painted in a highly polished manner, particularly noticeable in Saferrato's careful description of the virgins cloak painted in ultramarine. This I am very attracted to. I love the strong, bold colour. It surrounds the mother and child, perhaps acting as a symbol of protection. This has been painted with oil on canvas. 

The design is based closely on an etching by Guido Reni (as seen below), who was a major influence on Sassoferrato. 

I love the compositing of the Virgin and child, the closeness of the child's face to the mothers suggests a maternal bond and unconditional love. This bond is truly emphasised by the deep ultramarine blue of the virgins cloak. I have drawn drapery in my previous project however I love the idea of intergrating it into a painting especially using it as a symbol of protection and warmth. 

The second painting again depicts the Virgin, this time without the child but displays the same bold ultramarine cloak. This was also at the National Gallery where I was instantly drawn to it: 

The Virgin in prayer ( Sassoferrato 1640-50) 

This mature work is a popular design know in at least two other paintings by Sassoferrato. This particular design showing the Virgin at prayer is one of at least four evolved by the artist. Sassoferrato places emphasis on the softly modelled draperies, the White veil and brilliant blue cloak, painted in ultramarine. The face remains largely in shadow, the eyes downcast, and this has the effect of highlighting the hands joined in prayer. The painting recalls works by such artists as Raphael. The reason I am drawn to this painting is the similarities with the first. The cloak is still a symbol but in a different context. I would really like to use such bright fabric in the painting and drawings that I do. I could perhaps photograph a child in such fabric to highlight movement and features. 

These paintings are very differnt from the artists I have looked at such as Arquer Buigas. The colours are much more neutral, the hold and the mother are very pale with a hint of blush at the cheeks. This contrasts completely with the dark, burnt reds and Browns used by Buigas. However, I am attracted to their simplicity. This will expand the colour palette I chose to use and provides a cultural, historical aspect to my work by looking at mother and child over time and how the concept has evolved.