|
The face of Mary in Andrea's huge Assumption bears the features of his wife. Seated on clouds, her hands folded in prayer, she is surrounded by sturdy putti. The light shines on the circle of saints, but then darkness closes in, the golden light fails, and we glimpse part of a rocky cliff in the background. The altarpiece combines clarity and dimness, substance and dissolution, reality and vision, in a manner that suggests some of the development of the Italian Baroque that would follow in the seventeenth century.
|
