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Attributed to José de Arce (Flanders, circa 1600 - Seville, 1666)
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Descrizione
Attributed to José de Arce (Flanders, circa 1600 - Seville, 1666)
"Saint Elijah"
Carved, stewed and polychromed wooden sculpture. Circa 1649 - 1666.
This sculpture of Saint Elijah is an exquisite piece recently attributed to the remarkable Flemish sculptor who was based in Seville, José de Arce (ca. 1607-1666). He was a master who brought another twist to the process of making the Sevillian sculptural School more baroque by introducing novelties from European Baroque and some of its characteristics, such as the pleat or the Bernini fold, named after the Italian sculptor. The piece has been attributed to Arce by the researcher José Manuel Moreno Arana, who also asserts that it was created between the years 1649-1666.
The prophet Elijah is, after Moses, the most important figure in the Old Testament. His name means "Yahweh is my God." He dedicated his life to fighting for Yahweh against Baal.
Although the sculpture is currently in a private collection in Jerez de la Frontera, its origin can be traced back to one of the two Carmelite monasteries (Saint Elijah was considered to be the founder of this Order, as he lived in a cave on Mount Carmel, where a community of hermits, according to tradition, represented the continuity of eremitic life since the time of the prophet, keeping his spirit alive. Such is the connection between the saint and the Order that it is also known as the Ordo Elianus) that existed in Seville: the Casa Grande del Carmen and the College of San Alberto. After the confiscation of church property in 1835, the sculpture was transferred to the Convent of Buen Suceso and from there, before ending up in the private collection, it was taken to a monastery in the town of Carmona, founded in the 20th century.
The image of Saint Elijah was probably made to be placed in an altarpiece, and furthermore, in a large one, given that he was, as we have seen, one of the most renowned Carmelite saints. It is life-size and follows the traditional iconography of the saint: he is depicted standing, wearing a simple tunic with rounded vertical folds tightly cinched at the waist, and a small camel fur mantle covering his back. In his right hand, he wields the flaming sword with which he defeated the prophets of Baal on Mount Carmel, while in his left hand, he holds an open book that alludes to his role as the "founder" of the Carmelite Order, although it could also represent his book of prophecies. The face, kind yet energetic, is of exquisite quality as the sculptor has made the wood resemble flesh by giving softness and delicacy to the skin. Palpable examples are the wrinkles and corresponding indentations on his cheeks, indicating the saint's old age. He has a roughly sketched asymmetric hairstyle, which yet conveys notable dynamism and realism. The raised eyebrows give determination to his countenance, his eyes are painted directly on the wood and are meticulously carved with detailed eyelids. He has a strong nose with a straight outline, a characteristic feature of the Flemish-Sevillian sculptor's style, a small slightly open mouth, and long moustache and beard crafted in large, highly dynamic masses that create chiaroscuro effects, thus reinforcing the volume of the head. It is reminiscent of other documented works by the aforementioned sculptor, such as the stone images he carved for the Sagrario church belonging to Seville Cathedral or the wooden ones for the Carthusian monastery in Jerez. The hands and fingers exhibit remarkable anatomical accuracy, meticulously detailing the nails, veins, joints (the knuckles are very prominent), and muscles. The partially visible feet are protected by humble sandals.
The sculpture no longer retains its original polychrome, as it was repainted during the Rococo period, specifically around the years 1760-1770. There is abundant use of gold, vegetation decorations, and the techniques of stippling and lustre painting.
We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
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Attributed to José de Arce (Flanders, circa 1600 - Seville, 1666)
"Saint Elijah"
Carved, stewed and polychromed wooden sculpture. Circa 1649 - 1666.
This sculpture of Saint Elijah is an exquisite piece recently attributed to the remarkable Flemish sculptor who was based in Seville, José de Arce (ca. 1607-1666). He was a master who brought another twist to the process of making the Sevillian sculptural School more baroque by introducing novelties from European Baroque and some of its characteristics, such as the pleat or the Bernini fold, named after the Italian sculptor. The piece has been attributed to Arce by the researcher José Manuel Moreno Arana, who also asserts that it was created between the years 1649-1666.
The prophet Elijah is, after Moses, the most important figure in the Old Testament. His name means "Yahweh is my God." He dedicated his life to fighting for Yahweh against Baal.
Although the sculpture is currently in a private collection in Jerez de la Frontera, its origin can be traced back to one of the two Carmelite monasteries (Saint Elijah was considered to be the founder of this Order, as he lived in a cave on Mount Carmel, where a community of hermits, according to tradition, represented the continuity of eremitic life since the time of the prophet, keeping his spirit alive. Such is the connection between the saint and the Order that it is also known as the Ordo Elianus) that existed in Seville: the Casa Grande del Carmen and the College of San Alberto. After the confiscation of church property in 1835, the sculpture was transferred to the Convent of Buen Suceso and from there, before ending up in the private collection, it was taken to a monastery in the town of Carmona, founded in the 20th century.
The image of Saint Elijah was probably made to be placed in an altarpiece, and furthermore, in a large one, given that he was, as we have seen, one of the most renowned Carmelite saints. It is life-size and follows the traditional iconography of the saint: he is depicted standing, wearing a simple tunic with rounded vertical folds tightly cinched at the waist, and a small camel fur mantle covering his back. In his right hand, he wields the flaming sword with which he defeated the prophets of Baal on Mount Carmel, while in his left hand, he holds an open book that alludes to his role as the "founder" of the Carmelite Order, although it could also represent his book of prophecies. The face, kind yet energetic, is of exquisite quality as the sculptor has made the wood resemble flesh by giving softness and delicacy to the skin. Palpable examples are the wrinkles and corresponding indentations on his cheeks, indicating the saint's old age. He has a roughly sketched asymmetric hairstyle, which yet conveys notable dynamism and realism. The raised eyebrows give determination to his countenance, his eyes are painted directly on the wood and are meticulously carved with detailed eyelids. He has a strong nose with a straight outline, a characteristic feature of the Flemish-Sevillian sculptor's style, a small slightly open mouth, and long moustache and beard crafted in large, highly dynamic masses that create chiaroscuro effects, thus reinforcing the volume of the head. It is reminiscent of other documented works by the aforementioned sculptor, such as the stone images he carved for the Sagrario church belonging to Seville Cathedral or the wooden ones for the Carthusian monastery in Jerez. The hands and fingers exhibit remarkable anatomical accuracy, meticulously detailing the nails, veins, joints (the knuckles are very prominent), and muscles. The partially visible feet are protected by humble sandals.
The sculpture no longer retains its original polychrome, as it was repainted during the Rococo period, specifically around the years 1760-1770. There is abundant use of gold, vegetation decorations, and the techniques of stippling and lustre painting.
We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
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Lotti: 100
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