Marco Liberi (1640–1725), attributed – Susanna and the Elders
In Auction at Catawiki
Oil on canvas – unsigned
Canvas: 55.5 × 63.5 cm • Frame: 66 × 74 cm • Baroque • Professionally restored (re-lined; retouches visible under UV)
Introduction
The theme of Susanna and the Elders is one of the most psychologically charged subjects in seventeenth-century painting. Originating from chapter 13 of the Book of Daniel, the story became a favourite in the Baroque era for its dramatic tension between innocence and the abuse of power, its expressive figural possibilities, and its interplay of light and shadow. This painting aligns closely with the stylistic language associated with Marco Liberi, whose oeuvre is known for refined depictions of female figures and emotionally intense biblical and mythological scenes.
Description
The composition captures the pivotal moment of confrontation: Susanna, surprised in her privacy, is accosted by two elders. Her body is slightly turned, illuminated at the centre of the scene and rendered with delicate transitions of pinks, creams and cool tones that give her skin a porcelain-like softness. Her upward gaze and tense expression convey fear and resistance.
The elders are placed in close proximity, creating a tightly choreographed triangle of tension. The figure on the left, dressed in warm red with a dark turban, leans forward from the shadows, his features largely obscured. The elder on the right, wearing a red-white head covering, grips Susanna’s arm while attempting to pull away the white cloth around her waist. Their gestures frame Susanna’s illuminated body and heighten the dramatic focus.
The background features a partly wooded landscape with a Venetian sense of colour and atmospheric light. A strip of clear blue sky with soft pink reflections contrasts with the darker foliage, adding depth and theatricality to the composition.
Technique and Colour
The painter employed thin glazes to achieve subtle luminosity in the flesh tones. The modelling is characteristically Baroque, with smooth transitions and well-structured anatomy. Warm earth tones dominate the elders’ clothing and the shadow areas, while cooler blues and greens appear in the sky and landscape. The white drapery around Susanna is executed with notable attention to its folds and reflective qualities.
The surface shows a natural craquelure consistent with age. Under UV light, retouchings become visible, mainly in the background and certain contours. These interventions are professionally executed and attest to responsible conservation.
Composition and Art-Historical Context
The composition is distinctly Baroque: a close grouping of figures, dynamic diagonals and pronounced contrasts between illuminated and shadowed areas. By bathing Susanna in light and placing the elders in relative darkness, the artist establishes a visual and moral hierarchy: innocence illuminated, wrongdoing obscured.
The Venetian tradition—central to Liberi’s formation—favoured colorito, building form with colour rather than strict line. This is evident here: contours dissolve softly, and emotional intensity is achieved through tonal harmony and light. The work aligns with the broader European Baroque, echoing traits seen in studios influenced by Bernardo Strozzi, Palma il Giovane, Artemisia Gentileschi and Guido Reni.
The Artist
Marco Liberi (Treviso, 1640 – Venice, 1725), son and pupil of Liberale da Verona, worked primarily in Venice. His oeuvre focuses on mythological and biblical subjects in which female protagonists often occupy a central role. He is recognised for refined modelling, rich colour and emotionally charged narratives—characteristics present in this painting.
Condition
The painting has been professionally re-lined. Recent conservation by Atelier Simonis (Netherlands) included surface cleaning, consolidation of the paint layer and carefully executed retouches visible only under UV. The overall condition is stable, with age-consistent craquelure. The restoration meets contemporary professional standards.
Conclusion
This painting exemplifies Baroque narrative power through its expressive figures, controlled lighting and Venetian colour sensibility. The attribution to Marco Liberi is supported by stylistic parallels, the delicate rendering of the female figure and the thematic affinity with his known subjects. It is a compelling work that will appeal to collectors of Italian seventeenth-century painting and Baroque figural art.
The work is presented in a matte black wooden frame with silver-leaf detailing.
Total dimensions: 66 × 74 cm
Canvas dimensions: 55.5 × 63.5 cm
All shipments are professionally packed and dispatched via FedEx, DPD or PostNL.
A packaging surcharge is included in the stated shipping price.
The buyer is responsible for any import duties or additional charges applicable in the destination country.
Marco Liberi (1640–1725), attributed – Susanna and the Elders
In Auction at Catawiki
Oil on canvas – unsigned
Canvas: 55.5 × 63.5 cm • Frame: 66 × 74 cm • Baroque • Professionally restored (re-lined; retouches visible under UV)
Introduction
The theme of Susanna and the Elders is one of the most psychologically charged subjects in seventeenth-century painting. Originating from chapter 13 of the Book of Daniel, the story became a favourite in the Baroque era for its dramatic tension between innocence and the abuse of power, its expressive figural possibilities, and its interplay of light and shadow. This painting aligns closely with the stylistic language associated with Marco Liberi, whose oeuvre is known for refined depictions of female figures and emotionally intense biblical and mythological scenes.
Description
The composition captures the pivotal moment of confrontation: Susanna, surprised in her privacy, is accosted by two elders. Her body is slightly turned, illuminated at the centre of the scene and rendered with delicate transitions of pinks, creams and cool tones that give her skin a porcelain-like softness. Her upward gaze and tense expression convey fear and resistance.
The elders are placed in close proximity, creating a tightly choreographed triangle of tension. The figure on the left, dressed in warm red with a dark turban, leans forward from the shadows, his features largely obscured. The elder on the right, wearing a red-white head covering, grips Susanna’s arm while attempting to pull away the white cloth around her waist. Their gestures frame Susanna’s illuminated body and heighten the dramatic focus.
The background features a partly wooded landscape with a Venetian sense of colour and atmospheric light. A strip of clear blue sky with soft pink reflections contrasts with the darker foliage, adding depth and theatricality to the composition.
Technique and Colour
The painter employed thin glazes to achieve subtle luminosity in the flesh tones. The modelling is characteristically Baroque, with smooth transitions and well-structured anatomy. Warm earth tones dominate the elders’ clothing and the shadow areas, while cooler blues and greens appear in the sky and landscape. The white drapery around Susanna is executed with notable attention to its folds and reflective qualities.
The surface shows a natural craquelure consistent with age. Under UV light, retouchings become visible, mainly in the background and certain contours. These interventions are professionally executed and attest to responsible conservation.
Composition and Art-Historical Context
The composition is distinctly Baroque: a close grouping of figures, dynamic diagonals and pronounced contrasts between illuminated and shadowed areas. By bathing Susanna in light and placing the elders in relative darkness, the artist establishes a visual and moral hierarchy: innocence illuminated, wrongdoing obscured.
The Venetian tradition—central to Liberi’s formation—favoured colorito, building form with colour rather than strict line. This is evident here: contours dissolve softly, and emotional intensity is achieved through tonal harmony and light. The work aligns with the broader European Baroque, echoing traits seen in studios influenced by Bernardo Strozzi, Palma il Giovane, Artemisia Gentileschi and Guido Reni.
The Artist
Marco Liberi (Treviso, 1640 – Venice, 1725), son and pupil of Liberale da Verona, worked primarily in Venice. His oeuvre focuses on mythological and biblical subjects in which female protagonists often occupy a central role. He is recognised for refined modelling, rich colour and emotionally charged narratives—characteristics present in this painting.
Condition
The painting has been professionally re-lined. Recent conservation by Atelier Simonis (Netherlands) included surface cleaning, consolidation of the paint layer and carefully executed retouches visible only under UV. The overall condition is stable, with age-consistent craquelure. The restoration meets contemporary professional standards.
Conclusion
This painting exemplifies Baroque narrative power through its expressive figures, controlled lighting and Venetian colour sensibility. The attribution to Marco Liberi is supported by stylistic parallels, the delicate rendering of the female figure and the thematic affinity with his known subjects. It is a compelling work that will appeal to collectors of Italian seventeenth-century painting and Baroque figural art.
The work is presented in a matte black wooden frame with silver-leaf detailing.
Total dimensions: 66 × 74 cm
Canvas dimensions: 55.5 × 63.5 cm
All shipments are professionally packed and dispatched via FedEx, DPD or PostNL.
A packaging surcharge is included in the stated shipping price.
The buyer is responsible for any import duties or additional charges applicable in the destination country.
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