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Novo-Hispanic School; late 17th century."Altar with monstrance Virgin of Solitude and Christ".Oil on
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Beschreibung
Novo-Hispanic School; late 17th century.
"Altar with monstrance Virgin of Solitude and Christ".
Oil on canvas. Re-drawn.
Measurements: 97 x 74 cm.
The author conceives this work in a theatrical way, placing the main scene on a completely dark background, which is delimited by two red curtains. These curtains open onto an interior dominated by the presence of a stepped altar, similar to the aesthetics of the most common altars in Portugal. In the lower area, two little angels guard the scene, each on one side. At the base of the red altar, the Carmelite shield stands out, supporting the weight of Christian tradition. In the central area, the figure of the Virgin, kneeling, is located in the centre, flanked by candles and plant elements. This is Our Lady of Solitude, a variant of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this devotion that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The third floor of the altar has the figure of Christ, on Calvary, holding the cross, and finally, located in the upper area, a large gilded monstrance.
It is worth mentioning that during the Spanish colonial domination, mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Altar with monstrance Virgin of Solitude and Christ".
Oil on canvas. Re-drawn.
Measurements: 97 x 74 cm.
The author conceives this work in a theatrical way, placing the main scene on a completely dark background, which is delimited by two red curtains. These curtains open onto an interior dominated by the presence of a stepped altar, similar to the aesthetics of the most common altars in Portugal. In the lower area, two little angels guard the scene, each on one side. At the base of the red altar, the Carmelite shield stands out, supporting the weight of Christian tradition. In the central area, the figure of the Virgin, kneeling, is located in the centre, flanked by candles and plant elements. This is Our Lady of Solitude, a variant of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this devotion that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The third floor of the altar has the figure of Christ, on Calvary, holding the cross, and finally, located in the upper area, a large gilded monstrance.
It is worth mentioning that during the Spanish colonial domination, mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
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Novo-Hispanic School; late 17th century.
"Altar with monstrance Virgin of Solitude and Christ".
Oil on canvas. Re-drawn.
Measurements: 97 x 74 cm.
The author conceives this work in a theatrical way, placing the main scene on a completely dark background, which is delimited by two red curtains. These curtains open onto an interior dominated by the presence of a stepped altar, similar to the aesthetics of the most common altars in Portugal. In the lower area, two little angels guard the scene, each on one side. At the base of the red altar, the Carmelite shield stands out, supporting the weight of Christian tradition. In the central area, the figure of the Virgin, kneeling, is located in the centre, flanked by candles and plant elements. This is Our Lady of Solitude, a variant of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this devotion that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The third floor of the altar has the figure of Christ, on Calvary, holding the cross, and finally, located in the upper area, a large gilded monstrance.
It is worth mentioning that during the Spanish colonial domination, mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Altar with monstrance Virgin of Solitude and Christ".
Oil on canvas. Re-drawn.
Measurements: 97 x 74 cm.
The author conceives this work in a theatrical way, placing the main scene on a completely dark background, which is delimited by two red curtains. These curtains open onto an interior dominated by the presence of a stepped altar, similar to the aesthetics of the most common altars in Portugal. In the lower area, two little angels guard the scene, each on one side. At the base of the red altar, the Carmelite shield stands out, supporting the weight of Christian tradition. In the central area, the figure of the Virgin, kneeling, is located in the centre, flanked by candles and plant elements. This is Our Lady of Solitude, a variant of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this devotion that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The third floor of the altar has the figure of Christ, on Calvary, holding the cross, and finally, located in the upper area, a large gilded monstrance.
It is worth mentioning that during the Spanish colonial domination, mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
10th March - Old Masters from America and Europe
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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