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Peruvian school; ca. 1700."Virgin of Solitude".Oil on canvas.It has an inscription on the back.It
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Beschreibung
Peruvian school; ca. 1700.
"Virgin of Solitude".
Oil on canvas.
It has an inscription on the back.
It has perforations on the canvas.
It conserves original frame of epoch in carved and gilded wood.
Measurements: 57 x 42 cm; 72 x 57 cm (frame).
An open curtain reveals the monumental figure of the Virgin. The majestic image of the Mother of God stands on a pedestal supported by several little golden angels. She is dressed in a rich white robe, alluding to her virginity, with golden brocade and a dark mantle with embroidered stars, symbols of Marian iconography. The Virgin devoutly clasps her hands on her breast and turns her rosy face towards the ground, conscious of her role as a mother. Our Lady of Solitude is a variant invocation of the Virgin Mary of the title of Our Lady of Sorrows. Although the model instituted by Gaspar Becerra in his Virgen de la Soledad of the convent of La Victoria gave rise to a characteristic and "uniquely Spanish" iconography of this invocation that spread throughout the Christian world, it has its roots in the spread throughout Europe, thanks above all to the Servites, 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 Virgen de la Paloma is a Marian devotion specific to the city of Madrid, and her image is in the centre of the altarpiece of the parish church of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children on a plot of land next to Calle de la Paloma in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it and placed it in the doorway of her house. Several miracles were soon attributed to the image, and its cult spread rapidly, and in 1795 a chapel was built to house it. The one presented here is a faithful, albeit partial, copy of the original canvas, which shows Mary with a gesture of grief, dressed in mourning and adorned with a silver crown.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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 the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Virgin of Solitude".
Oil on canvas.
It has an inscription on the back.
It has perforations on the canvas.
It conserves original frame of epoch in carved and gilded wood.
Measurements: 57 x 42 cm; 72 x 57 cm (frame).
An open curtain reveals the monumental figure of the Virgin. The majestic image of the Mother of God stands on a pedestal supported by several little golden angels. She is dressed in a rich white robe, alluding to her virginity, with golden brocade and a dark mantle with embroidered stars, symbols of Marian iconography. The Virgin devoutly clasps her hands on her breast and turns her rosy face towards the ground, conscious of her role as a mother. Our Lady of Solitude is a variant invocation of the Virgin Mary of the title of Our Lady of Sorrows. Although the model instituted by Gaspar Becerra in his Virgen de la Soledad of the convent of La Victoria gave rise to a characteristic and "uniquely Spanish" iconography of this invocation that spread throughout the Christian world, it has its roots in the spread throughout Europe, thanks above all to the Servites, 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 Virgen de la Paloma is a Marian devotion specific to the city of Madrid, and her image is in the centre of the altarpiece of the parish church of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children on a plot of land next to Calle de la Paloma in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it and placed it in the doorway of her house. Several miracles were soon attributed to the image, and its cult spread rapidly, and in 1795 a chapel was built to house it. The one presented here is a faithful, albeit partial, copy of the original canvas, which shows Mary with a gesture of grief, dressed in mourning and adorned with a silver crown.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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 the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
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Peruvian school; ca. 1700.
"Virgin of Solitude".
Oil on canvas.
It has an inscription on the back.
It has perforations on the canvas.
It conserves original frame of epoch in carved and gilded wood.
Measurements: 57 x 42 cm; 72 x 57 cm (frame).
An open curtain reveals the monumental figure of the Virgin. The majestic image of the Mother of God stands on a pedestal supported by several little golden angels. She is dressed in a rich white robe, alluding to her virginity, with golden brocade and a dark mantle with embroidered stars, symbols of Marian iconography. The Virgin devoutly clasps her hands on her breast and turns her rosy face towards the ground, conscious of her role as a mother. Our Lady of Solitude is a variant invocation of the Virgin Mary of the title of Our Lady of Sorrows. Although the model instituted by Gaspar Becerra in his Virgen de la Soledad of the convent of La Victoria gave rise to a characteristic and "uniquely Spanish" iconography of this invocation that spread throughout the Christian world, it has its roots in the spread throughout Europe, thanks above all to the Servites, 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 Virgen de la Paloma is a Marian devotion specific to the city of Madrid, and her image is in the centre of the altarpiece of the parish church of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children on a plot of land next to Calle de la Paloma in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it and placed it in the doorway of her house. Several miracles were soon attributed to the image, and its cult spread rapidly, and in 1795 a chapel was built to house it. The one presented here is a faithful, albeit partial, copy of the original canvas, which shows Mary with a gesture of grief, dressed in mourning and adorned with a silver crown.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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 the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
"Virgin of Solitude".
Oil on canvas.
It has an inscription on the back.
It has perforations on the canvas.
It conserves original frame of epoch in carved and gilded wood.
Measurements: 57 x 42 cm; 72 x 57 cm (frame).
An open curtain reveals the monumental figure of the Virgin. The majestic image of the Mother of God stands on a pedestal supported by several little golden angels. She is dressed in a rich white robe, alluding to her virginity, with golden brocade and a dark mantle with embroidered stars, symbols of Marian iconography. The Virgin devoutly clasps her hands on her breast and turns her rosy face towards the ground, conscious of her role as a mother. Our Lady of Solitude is a variant invocation of the Virgin Mary of the title of Our Lady of Sorrows. Although the model instituted by Gaspar Becerra in his Virgen de la Soledad of the convent of La Victoria gave rise to a characteristic and "uniquely Spanish" iconography of this invocation that spread throughout the Christian world, it has its roots in the spread throughout Europe, thanks above all to the Servites, 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 Virgen de la Paloma is a Marian devotion specific to the city of Madrid, and her image is in the centre of the altarpiece of the parish church of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children on a plot of land next to Calle de la Paloma in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it and placed it in the doorway of her house. Several miracles were soon attributed to the image, and its cult spread rapidly, and in 1795 a chapel was built to house it. The one presented here is a faithful, albeit partial, copy of the original canvas, which shows Mary with a gesture of grief, dressed in mourning and adorned with a silver crown.
It is worth noting that during Spanish colonial rule, a mainly religious style of 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 the political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
6th April - Old Masters
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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