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Andalusian or Novo-Hispanic school; late 17th century."The theological virtues and the deadly
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Beschreibung
Andalusian or Novo-Hispanic school; late 17th century.
"The theological virtues and the deadly sins".
Oil on canvas. Re-drawn.
Measurements: 72 x 62 cm; 94 x 84 cm.
Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.
Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a 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, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to represent a new model of painting with its own identity.
"The theological virtues and the deadly sins".
Oil on canvas. Re-drawn.
Measurements: 72 x 62 cm; 94 x 84 cm.
Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.
Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a 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, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to represent a new model of painting with its own identity.
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Andalusian or Novo-Hispanic school; late 17th century.
"The theological virtues and the deadly sins".
Oil on canvas. Re-drawn.
Measurements: 72 x 62 cm; 94 x 84 cm.
Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.
Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a 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, but in the early 19th century, at the time of independence and political openness in some of the colonies, several artists began to represent a new model of painting with its own identity.
"The theological virtues and the deadly sins".
Oil on canvas. Re-drawn.
Measurements: 72 x 62 cm; 94 x 84 cm.
Through the use of a pyramidal composition the author conceives a landscape where many symbols of Christianity are present. Firstly, located in the upper area in the centre of the scene is the figure of God the Father, dressed in white with a red mantle, adopting the gesture of blessing. This is the most important representation of the scene, because the others start from him. Under his lap the dove of the Holy Spirit and the figure of Jesus. From the body of Christ, dressed only in a red cloth in allusion to his martyrdom, different legends are depicted, which are connected to two tree-like structures, conceived as a floral bouquet. The virtues (Faith, Hope and Charity (theological) and Prudence, Temperance, Justice and Fortitude (cardinal)) are arranged on each of them at either end of the canvas, while the capital sins (Lust, Anger, Sloth, Envy, Pride, Gluttony and Avarice) can be seen on the other. The scene ends with the figure of an archangel and several religious figures in the earthly realm, accompanied by ornaments with writing inside them.
Works of this type were used in a pedagogical manner, with the intention of evangelising and spreading the word of Christianity. For this reason, a schematic compositional pattern can be seen, based on the foreground and the symmetrical division of space. An example of the interest in depicting the virtues and the deadly sins, set against each other, is Giotto's work in the Scrovegni chapel in Padua. It is worth mentioning that during Spanish colonial rule, a 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, but in the early 19th century, at the time of independence and political openness in 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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