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Andalusian school, 17th century. Circle of PEDRO DE MENA (Granada, 1628 - Malaga, 1688)."Saint
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Beschreibung
Andalusian school, 17th century. Circle of PEDRO DE MENA (Granada, 1628 - Malaga, 1688).
"Saint John of the Cross".
Painted wood carving.
Lack of polychromy.
Lined wooden base.
Measurements: 30 x 23 x 14 cm. (sculpture); 8 x 28 x 20 cm. (base).
Bust from the Andalusian school, specifically from Granada, where the sculptural plasticity characteristic of Juan de Mena can be appreciated in this carving. Saint John of the Cross has been depicted with a young, beardless face, with expressive features, half-open lips and almond-shaped eyes that highlight his asceticism. A tonsure crowns the saint's head. Juan de Mena's images reflected devotional types that referred to states of introspection and ecstasy, and this piece is an attentive follower in the master's wake.
Pedro de Mena was the son of the sculptor Alonso de Mena, whose workshop was the most important in Granada until the arrival of Alonso Cano. Trained with his father, after his father's death he remained in charge of the workshop and worked together with Bernardo de Mora. During this period he made four sculptures for the church of San Matías in Granada, the Sagrada Familia de los Capuchinos in the same city, and the San Antonio in the Municipal Museum in Malaga. He later worked with Alonso Cano after the latter moved to Granada in 1652. He carved four large sculptures of saints commissioned from Cano for the convent of the Guardian Angel and also a Conception for the parish church of Alhendín in the fertile plain of Granada. Later, in 1658, he left for Malaga due to the commission to make the choir stalls of the cathedral choir, which had been designed in 1633 by Luis Ortiz de Vargas, who began the carving but left it unfinished. José Micael y Alfaro continued the work, but in the end it was Mena who did most of the work, carving the forty-three missing panels and the crowning of the choir stalls. In this work he showed his great technical skill and his ability to create a great variety of faces, types and compositions. In 1662 he travelled to court at the request of John Joseph of Austria. On this brief trip he also visited Toledo. For Don Juan José he carved a sculpture of the Virgin of Pilar with Saint James the Apostle at the foot. In Madrid he also made a Crucifix for Prince Doria, which was sent to Genoa. In Toledo he carved the St. Francis in the Cathedral Treasury, which is one of his most important works. Small in size, as was customary in Granada art, he is shown standing upright, with his head slightly raised and his eyes turned towards the sky. He was appointed sculptor of Toledo Cathedral. Almost at the end of his journey he began Magdalena penitente (Prado) in Madrid, which he completed on his return to Malaga. There he set up an important workshop and produced numerous works. Around 1666 he produced, for the convent of Santo Domingo in Malaga, the Virgin of the Crib and a Crucifix, an unusual iconography for Mena, who was not in the habit of depicting sorrowful themes.
"Saint John of the Cross".
Painted wood carving.
Lack of polychromy.
Lined wooden base.
Measurements: 30 x 23 x 14 cm. (sculpture); 8 x 28 x 20 cm. (base).
Bust from the Andalusian school, specifically from Granada, where the sculptural plasticity characteristic of Juan de Mena can be appreciated in this carving. Saint John of the Cross has been depicted with a young, beardless face, with expressive features, half-open lips and almond-shaped eyes that highlight his asceticism. A tonsure crowns the saint's head. Juan de Mena's images reflected devotional types that referred to states of introspection and ecstasy, and this piece is an attentive follower in the master's wake.
Pedro de Mena was the son of the sculptor Alonso de Mena, whose workshop was the most important in Granada until the arrival of Alonso Cano. Trained with his father, after his father's death he remained in charge of the workshop and worked together with Bernardo de Mora. During this period he made four sculptures for the church of San Matías in Granada, the Sagrada Familia de los Capuchinos in the same city, and the San Antonio in the Municipal Museum in Malaga. He later worked with Alonso Cano after the latter moved to Granada in 1652. He carved four large sculptures of saints commissioned from Cano for the convent of the Guardian Angel and also a Conception for the parish church of Alhendín in the fertile plain of Granada. Later, in 1658, he left for Malaga due to the commission to make the choir stalls of the cathedral choir, which had been designed in 1633 by Luis Ortiz de Vargas, who began the carving but left it unfinished. José Micael y Alfaro continued the work, but in the end it was Mena who did most of the work, carving the forty-three missing panels and the crowning of the choir stalls. In this work he showed his great technical skill and his ability to create a great variety of faces, types and compositions. In 1662 he travelled to court at the request of John Joseph of Austria. On this brief trip he also visited Toledo. For Don Juan José he carved a sculpture of the Virgin of Pilar with Saint James the Apostle at the foot. In Madrid he also made a Crucifix for Prince Doria, which was sent to Genoa. In Toledo he carved the St. Francis in the Cathedral Treasury, which is one of his most important works. Small in size, as was customary in Granada art, he is shown standing upright, with his head slightly raised and his eyes turned towards the sky. He was appointed sculptor of Toledo Cathedral. Almost at the end of his journey he began Magdalena penitente (Prado) in Madrid, which he completed on his return to Malaga. There he set up an important workshop and produced numerous works. Around 1666 he produced, for the convent of Santo Domingo in Malaga, the Virgin of the Crib and a Crucifix, an unusual iconography for Mena, who was not in the habit of depicting sorrowful themes.
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Andalusian school, 17th century. Circle of PEDRO DE MENA (Granada, 1628 - Malaga, 1688).
"Saint John of the Cross".
Painted wood carving.
Lack of polychromy.
Lined wooden base.
Measurements: 30 x 23 x 14 cm. (sculpture); 8 x 28 x 20 cm. (base).
Bust from the Andalusian school, specifically from Granada, where the sculptural plasticity characteristic of Juan de Mena can be appreciated in this carving. Saint John of the Cross has been depicted with a young, beardless face, with expressive features, half-open lips and almond-shaped eyes that highlight his asceticism. A tonsure crowns the saint's head. Juan de Mena's images reflected devotional types that referred to states of introspection and ecstasy, and this piece is an attentive follower in the master's wake.
Pedro de Mena was the son of the sculptor Alonso de Mena, whose workshop was the most important in Granada until the arrival of Alonso Cano. Trained with his father, after his father's death he remained in charge of the workshop and worked together with Bernardo de Mora. During this period he made four sculptures for the church of San Matías in Granada, the Sagrada Familia de los Capuchinos in the same city, and the San Antonio in the Municipal Museum in Malaga. He later worked with Alonso Cano after the latter moved to Granada in 1652. He carved four large sculptures of saints commissioned from Cano for the convent of the Guardian Angel and also a Conception for the parish church of Alhendín in the fertile plain of Granada. Later, in 1658, he left for Malaga due to the commission to make the choir stalls of the cathedral choir, which had been designed in 1633 by Luis Ortiz de Vargas, who began the carving but left it unfinished. José Micael y Alfaro continued the work, but in the end it was Mena who did most of the work, carving the forty-three missing panels and the crowning of the choir stalls. In this work he showed his great technical skill and his ability to create a great variety of faces, types and compositions. In 1662 he travelled to court at the request of John Joseph of Austria. On this brief trip he also visited Toledo. For Don Juan José he carved a sculpture of the Virgin of Pilar with Saint James the Apostle at the foot. In Madrid he also made a Crucifix for Prince Doria, which was sent to Genoa. In Toledo he carved the St. Francis in the Cathedral Treasury, which is one of his most important works. Small in size, as was customary in Granada art, he is shown standing upright, with his head slightly raised and his eyes turned towards the sky. He was appointed sculptor of Toledo Cathedral. Almost at the end of his journey he began Magdalena penitente (Prado) in Madrid, which he completed on his return to Malaga. There he set up an important workshop and produced numerous works. Around 1666 he produced, for the convent of Santo Domingo in Malaga, the Virgin of the Crib and a Crucifix, an unusual iconography for Mena, who was not in the habit of depicting sorrowful themes.
"Saint John of the Cross".
Painted wood carving.
Lack of polychromy.
Lined wooden base.
Measurements: 30 x 23 x 14 cm. (sculpture); 8 x 28 x 20 cm. (base).
Bust from the Andalusian school, specifically from Granada, where the sculptural plasticity characteristic of Juan de Mena can be appreciated in this carving. Saint John of the Cross has been depicted with a young, beardless face, with expressive features, half-open lips and almond-shaped eyes that highlight his asceticism. A tonsure crowns the saint's head. Juan de Mena's images reflected devotional types that referred to states of introspection and ecstasy, and this piece is an attentive follower in the master's wake.
Pedro de Mena was the son of the sculptor Alonso de Mena, whose workshop was the most important in Granada until the arrival of Alonso Cano. Trained with his father, after his father's death he remained in charge of the workshop and worked together with Bernardo de Mora. During this period he made four sculptures for the church of San Matías in Granada, the Sagrada Familia de los Capuchinos in the same city, and the San Antonio in the Municipal Museum in Malaga. He later worked with Alonso Cano after the latter moved to Granada in 1652. He carved four large sculptures of saints commissioned from Cano for the convent of the Guardian Angel and also a Conception for the parish church of Alhendín in the fertile plain of Granada. Later, in 1658, he left for Malaga due to the commission to make the choir stalls of the cathedral choir, which had been designed in 1633 by Luis Ortiz de Vargas, who began the carving but left it unfinished. José Micael y Alfaro continued the work, but in the end it was Mena who did most of the work, carving the forty-three missing panels and the crowning of the choir stalls. In this work he showed his great technical skill and his ability to create a great variety of faces, types and compositions. In 1662 he travelled to court at the request of John Joseph of Austria. On this brief trip he also visited Toledo. For Don Juan José he carved a sculpture of the Virgin of Pilar with Saint James the Apostle at the foot. In Madrid he also made a Crucifix for Prince Doria, which was sent to Genoa. In Toledo he carved the St. Francis in the Cathedral Treasury, which is one of his most important works. Small in size, as was customary in Granada art, he is shown standing upright, with his head slightly raised and his eyes turned towards the sky. He was appointed sculptor of Toledo Cathedral. Almost at the end of his journey he began Magdalena penitente (Prado) in Madrid, which he completed on his return to Malaga. There he set up an important workshop and produced numerous works. Around 1666 he produced, for the convent of Santo Domingo in Malaga, the Virgin of the Crib and a Crucifix, an unusual iconography for Mena, who was not in the habit of depicting sorrowful themes.
10th May - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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