Virgin with the Child and angels in glory (1600) is the painting Francesco Stringa is best remembered for; it belongs to the Pinacoteca Stuard, Parma. Our catalogue counts 1 works by Francesco Stringa. Here are the 1 most famous, with the year, the museum and the story of each canvas.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
The painting titled Virgin with the Child and angels in glory is a work by the Italian painter Francesco Stringa. This piece belongs to the Baroque era, a period characterized by the specific stylistic developments of the 17th century. The creation of this work occurred during the first half of the 17th century.
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Francesco Stringa | Paintings from this list |
|---|---|---|---|
 Pinacoteca Stuard |
Parma | 1 | Virgin with the Child and angels in glory |
The dated canvases of Francesco Stringa on this page all belong to 1600: here they are, in order of fame.
The painting titled Virgin with the Child and angels in glory is a work by the Italian painter Francesco Stringa. This piece belongs to the Baroque era, a…
Virgin with the Child and angels in glory (1600).
Francesco Stringa, born in 1578, was 22 years old: Virgin with the Child and angels in glory dates from 1600.
1 works by Francesco Stringa are in our catalogue.
Mostly in Pinacoteca Stuard (Parma); the list above names each museum and its canvases.
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
Francesco Stringa moves through the narrow streets of Modena, a man defined by the weight of the objects he observes. Born in 1578, his hands are trained to grasp the textures of the physical world, finding a quiet presence in the service of the Este court. He does not seek to reinvent the heavens but to record the way light settles upon a surface, a task that eventually leads him to the position of superintendent of the Galleria Estense. His life is a steady devotion to the visual language of the Baroque, a period where the tension between soft edges and sharp, decisive marks defines the very air of the seventeenth century.
The atmosphere of his work is built upon the foundations of his Emilian contemporaries. He navigates the space between the soft transitions of sfumato and the heavy, dramatic shadows of chiaroscuro. His brushwork reveals a preoccupation with how light defines an edge, making a painted object feel heavy, cold, or soft to the touch. This grounded clarity is what separates his work from the grand, sweeping gestures of his peers; he is a painter of the subtle shift in tone.
Stringa’s development is a study in the absorption of surrounding mastery. He does not work in a vacuum, but rather absorbs the naturalism of Mattia Preti and the structured compositions of Guercino. His style is a bridge between the traditions of Ludovico Lana and the evolving demands of the Baroque era. He masters the ability to translate the atmosphere of a room into permanent form, focusing on the weight of objects and the way shadows define their boundaries.
His technical approach is characterized by several key elements:
The influence of Stringa extends beyond his own brush, flowing into the hands of those he trained. His methods were carried forward by pupils such as Francesco Vellani, Antonio Consetti, Girolamo Donnini, and Jacopo Zoboli. His career, which saw him serving as a court painter for the dukes of Alfonso IV and Francesco II d'Este, remains anchored in the specific, grounded reality of his native region. He died in 1615, leaving behind a body of work that captures the quiet, heavy reality of the seventeenth century.
His paintings remain held in significant collections, such as the Pinacoteca Stuard in Parma, where works like Virgin with the Child and angels in glory demonstrate his ability to balance the divine with the tangible. He remains a figure of the Baroque, a man who understood that the most profound truths are often found in the way light hits a surface in a quiet room.
