Get a copy of The Madonna and Child with Saint John the Evangelist and Saint John the Baptist

Q: Is The Madonna and Child with Saint John the Evangelist and Saint John the Baptist under copyright?

No, this artwork is in the public domain.

From the church of San Sepolcro, where it was taken in the second half of the eighteenth century, after the destruction of its original home in San Mattia alla Moneta (Piazza Cordusio), the triptych shows the Madonna and Child with Saint John the Evangelist and Saint John the Baptist in an arcade in the open. The construction cannot but recall the beautiful sacristy with paintings by Bergognone in Santa Maria della Passione. If we look carefully at the Virgin’s pedestal, we can see it consists of a monochrome triptych with, from left to right, Adam, the expulsion of Adam and Eve from the Garden of Eden, and Eve picking the fruit from the tree at the centre of the garden. The choice of subject is not coincidental, for it portrays Mary and Joseph as the new Eve and the new Adam, in accordance with the words of Saint Paul: “For as by the disobedience of one man [Adam], many were made sinners: so also by the obedience of one [Jesus], many shall be made just” (Epistle to the Romans, 5:18).

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Artist Biography

A Legacy Carved in the Shadow of a Genius

The history of the Italian Renaissance is often told through the lens of singular, incomparable titans, yet the true richness of the era lies in the brilliant circle of masters who breathed life into the shadows cast by giants. Marco d’Oggiono stands as one of the most significant figures within this luminous orbit. Born around 1475 in the picturesque town of Oggiono, nestled in the hills of Brescia, his life and artistry were inextricably woven into the fabric of Lombard painting. While history frequently centers on the revolutionary breakthroughs of Leonardo da Vinci, it is through the meticulous hand and devoted spirit of d’Oggiono that much of the Leonardesque aesthetic was preserved, refined, and disseminated throughout Northern Italy.

D’Oggiono’s artistic journey began with a foundation of rigorous classical discipline. Early evidence suggests he received an exceptional education under the influence of Andrea Mantegna, a master whose workshop emphasized anatomical precision, a command of perspective, and a profound humanist intellect. This early exposure to the Mantegnesque style instilled in d’ Oggiono a lifelong dedication to structural clarity and a reverence for the scientific observation of nature. These formative years prepared him for his most defining chapter: his prolonged and intimate association with Leonardo da Vinci.

The Master’s Apprentice and the Art of Mimicry

To study under Leonardo was not merely to learn a technique, but to undergo a transformation in perception. D’Oggiono became one of the most trusted collaborators in Leonardo’s circle, tasked with responsibilities that required both immense technical skill and an intuitive understanding of sfumato—the delicate, smoky blurring of edges that gives Leonardo's subjects their haunting, lifelike quality. His role often involved the painstaking replication of Leonardo’s masterpieces, such as Saint Jerome in His Study and the Virgin Annunciation.

These were not mere exercises in imitation; they were profound acts of artistic translation. Through these copies, d’Oggiono internalized the master's philosophy of blending scientific realism with spiritual depth. His work serves as a vital bridge, capturing the essence of Leonardo’s innovations and making them accessible to the broader Lombard school. In his hands, the soft transitions of light and shadow and the subtle, enigmatic expressions characteristic of the Leonardesque style found a secondary, equally devoted voice.

A Lasting Impression on Lombard Renaissance

As his career progressed, d’Oggiono developed a recognizable style that, while deeply indebted to his mentor, possessed its own quiet, contemplative grace. His oeuvre is characterized by a serene beauty and a focus on devotional subjects, particularly Madonnas and portraits that exude a sense of tranquil piety. The significance of his contribution extends far beyond the technical execution of his paintings; he was a key architect in the spread of the High Renaissance aesthetic across the Lombardy region.

The historical importance of Marco d’Oggiono can be summarized through several enduring contributions to the art world:

Preservation of Technique: His meticulous copies provided an invaluable record of Leonardo da Vinci's evolving methods and compositional strategies.
Stylistic Diffusion: He played a crucial role in disseminating the sophisticated Leonardesque language to other contemporary painters in Northern Italy.
Mastery of Atmosphere: He successfully adapted the complex use of light and shadow to create works of profound emotional and spiritual resonance.
Bridge Between Eras: His work represents the seamless transition from the rigorous, linear traditions of Mantegna to the atmospheric, humanistic heights of the High Renaissance.

Though he passed away around 1530, leaving behind a legacy that remains a cornerstone of Lombard art history, d’Oggiono’s influence persists. He remains a testament to the power of the artistic lineage—a painter who did not seek to eclipse the sun of his master, but rather to capture its warmth and spread it across the canvas of an entire generation.