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Andalusian school; second half of the 17th century."Christ crucified".Oil on canvas. Re-enteled.It
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Beschreibung
Andalusian school; second half of the 17th century.
"Christ crucified".
Oil on canvas. Re-enteled.
It has repainting and restorations.
It has a 17th century Spanish frame.
Measurements: 174 x 113 cm; 197 x 135 cm (frame).
In an arid landscape of earthy tonalities, in the distance, the silhouette of a city of baroque architecture is outlined, which coexists with a wide landscape located in the right zone. This landscape conception, which reveals the artist's mastery, is to some extent relegated to the background due to the great expressiveness of the main motif of the work. In the foreground, the artist places the figure of the crucified Christ, oversized in relation to the landscape in which he lives. The great monumentality of the figure, which occupies almost the entire surface, shows the viewer the relevance of the theme chosen by the artist. He presents us with a Jesus, crucified with four nails, still alive, with his eyes open, looking up to the sky. His face takes on an expression of both faintness and serenity, as a result of his acceptance of his destiny. However, despite this serenity, the work is defined by its dramatism, which derives from the technical treatment reflected in the anatomy of Jesus, or the way the nails are painted, especially the one in the left hand, where the tearing it has caused in Jesus' skin can be seen. In addition, the Tenebrist light treatment shows an image in which the warm light is directed directly on the figure of Christ, while the rest of the scene is in semi-darkness. A noteworthy element is the cloth of purity, not only for the luminosity it brings to the scene, or for the treatment of the drapery, but also because the painter seems to make it float in the composition, moved by the air, a device that in a certain way breaks with the strict verticality of the composition.
The 17th century saw the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Christ crucified".
Oil on canvas. Re-enteled.
It has repainting and restorations.
It has a 17th century Spanish frame.
Measurements: 174 x 113 cm; 197 x 135 cm (frame).
In an arid landscape of earthy tonalities, in the distance, the silhouette of a city of baroque architecture is outlined, which coexists with a wide landscape located in the right zone. This landscape conception, which reveals the artist's mastery, is to some extent relegated to the background due to the great expressiveness of the main motif of the work. In the foreground, the artist places the figure of the crucified Christ, oversized in relation to the landscape in which he lives. The great monumentality of the figure, which occupies almost the entire surface, shows the viewer the relevance of the theme chosen by the artist. He presents us with a Jesus, crucified with four nails, still alive, with his eyes open, looking up to the sky. His face takes on an expression of both faintness and serenity, as a result of his acceptance of his destiny. However, despite this serenity, the work is defined by its dramatism, which derives from the technical treatment reflected in the anatomy of Jesus, or the way the nails are painted, especially the one in the left hand, where the tearing it has caused in Jesus' skin can be seen. In addition, the Tenebrist light treatment shows an image in which the warm light is directed directly on the figure of Christ, while the rest of the scene is in semi-darkness. A noteworthy element is the cloth of purity, not only for the luminosity it brings to the scene, or for the treatment of the drapery, but also because the painter seems to make it float in the composition, moved by the air, a device that in a certain way breaks with the strict verticality of the composition.
The 17th century saw the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
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Andalusian school; second half of the 17th century.
"Christ crucified".
Oil on canvas. Re-enteled.
It has repainting and restorations.
It has a 17th century Spanish frame.
Measurements: 174 x 113 cm; 197 x 135 cm (frame).
In an arid landscape of earthy tonalities, in the distance, the silhouette of a city of baroque architecture is outlined, which coexists with a wide landscape located in the right zone. This landscape conception, which reveals the artist's mastery, is to some extent relegated to the background due to the great expressiveness of the main motif of the work. In the foreground, the artist places the figure of the crucified Christ, oversized in relation to the landscape in which he lives. The great monumentality of the figure, which occupies almost the entire surface, shows the viewer the relevance of the theme chosen by the artist. He presents us with a Jesus, crucified with four nails, still alive, with his eyes open, looking up to the sky. His face takes on an expression of both faintness and serenity, as a result of his acceptance of his destiny. However, despite this serenity, the work is defined by its dramatism, which derives from the technical treatment reflected in the anatomy of Jesus, or the way the nails are painted, especially the one in the left hand, where the tearing it has caused in Jesus' skin can be seen. In addition, the Tenebrist light treatment shows an image in which the warm light is directed directly on the figure of Christ, while the rest of the scene is in semi-darkness. A noteworthy element is the cloth of purity, not only for the luminosity it brings to the scene, or for the treatment of the drapery, but also because the painter seems to make it float in the composition, moved by the air, a device that in a certain way breaks with the strict verticality of the composition.
The 17th century saw the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Christ crucified".
Oil on canvas. Re-enteled.
It has repainting and restorations.
It has a 17th century Spanish frame.
Measurements: 174 x 113 cm; 197 x 135 cm (frame).
In an arid landscape of earthy tonalities, in the distance, the silhouette of a city of baroque architecture is outlined, which coexists with a wide landscape located in the right zone. This landscape conception, which reveals the artist's mastery, is to some extent relegated to the background due to the great expressiveness of the main motif of the work. In the foreground, the artist places the figure of the crucified Christ, oversized in relation to the landscape in which he lives. The great monumentality of the figure, which occupies almost the entire surface, shows the viewer the relevance of the theme chosen by the artist. He presents us with a Jesus, crucified with four nails, still alive, with his eyes open, looking up to the sky. His face takes on an expression of both faintness and serenity, as a result of his acceptance of his destiny. However, despite this serenity, the work is defined by its dramatism, which derives from the technical treatment reflected in the anatomy of Jesus, or the way the nails are painted, especially the one in the left hand, where the tearing it has caused in Jesus' skin can be seen. In addition, the Tenebrist light treatment shows an image in which the warm light is directed directly on the figure of Christ, while the rest of the scene is in semi-darkness. A noteworthy element is the cloth of purity, not only for the luminosity it brings to the scene, or for the treatment of the drapery, but also because the painter seems to make it float in the composition, moved by the air, a device that in a certain way breaks with the strict verticality of the composition.
The 17th century saw the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
10th May - Old Masters
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Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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