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School of Guatemala; 18th century."Saint John and the Virgin on Calvary".Carved and polychrome wood.
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Beschreibung
School of Guatemala; 18th century.
"Saint John and the Virgin on Calvary".
Carved and polychrome wood. Vitreous paste eyes.
They show repainting.
Measurements: 33 x 13 x 10 cm; 32 x 16 x 10 x 10 cm.
Sculptural group made up of two round figures representing the image of the Virgin and Saint John. Both the attitude of the gesture of the Virgin and Saint John, as well as the presence of the two, suggests that they originally formed a Calvary, in which the figure of Christ Crucified would be in the centre, flanked by the two protagonists of this lot. Both represent an iconographic form evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings.
Aesthetically, the pieces stand out for their delicate polychromy, which gives great expressiveness to the figures. It is worth mentioning that, during Spanish colonial rule, a mainly religious sculpture was developed, aimed at Christianising the indigenous peoples. Local artists 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 opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Saint John and the Virgin on Calvary".
Carved and polychrome wood. Vitreous paste eyes.
They show repainting.
Measurements: 33 x 13 x 10 cm; 32 x 16 x 10 x 10 cm.
Sculptural group made up of two round figures representing the image of the Virgin and Saint John. Both the attitude of the gesture of the Virgin and Saint John, as well as the presence of the two, suggests that they originally formed a Calvary, in which the figure of Christ Crucified would be in the centre, flanked by the two protagonists of this lot. Both represent an iconographic form evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings.
Aesthetically, the pieces stand out for their delicate polychromy, which gives great expressiveness to the figures. It is worth mentioning that, during Spanish colonial rule, a mainly religious sculpture was developed, aimed at Christianising the indigenous peoples. Local artists 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 opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
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School of Guatemala; 18th century.
"Saint John and the Virgin on Calvary".
Carved and polychrome wood. Vitreous paste eyes.
They show repainting.
Measurements: 33 x 13 x 10 cm; 32 x 16 x 10 x 10 cm.
Sculptural group made up of two round figures representing the image of the Virgin and Saint John. Both the attitude of the gesture of the Virgin and Saint John, as well as the presence of the two, suggests that they originally formed a Calvary, in which the figure of Christ Crucified would be in the centre, flanked by the two protagonists of this lot. Both represent an iconographic form evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings.
Aesthetically, the pieces stand out for their delicate polychromy, which gives great expressiveness to the figures. It is worth mentioning that, during Spanish colonial rule, a mainly religious sculpture was developed, aimed at Christianising the indigenous peoples. Local artists 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 opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Saint John and the Virgin on Calvary".
Carved and polychrome wood. Vitreous paste eyes.
They show repainting.
Measurements: 33 x 13 x 10 cm; 32 x 16 x 10 x 10 cm.
Sculptural group made up of two round figures representing the image of the Virgin and Saint John. Both the attitude of the gesture of the Virgin and Saint John, as well as the presence of the two, suggests that they originally formed a Calvary, in which the figure of Christ Crucified would be in the centre, flanked by the two protagonists of this lot. Both represent an iconographic form evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings.
Aesthetically, the pieces stand out for their delicate polychromy, which gives great expressiveness to the figures. It is worth mentioning that, during Spanish colonial rule, a mainly religious sculpture was developed, aimed at Christianising the indigenous peoples. Local artists 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 opening of some of the colonies, several artists began to represent a new model of painting with its own identity.
10th March - Old Masters from America and Europe
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Carrer de Cirilo Amorós 55, Valencia
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