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Flemish school; mid-16th century."Virgin of the milk".Oil on copper.Size: 17,5 x 13 cm; 21 x 17,5 cm
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Beschreibung
Flemish school; mid-16th century.
"Virgin of the milk".
Oil on copper.
Size: 17,5 x 13 cm; 21 x 17,5 cm (frame).
Oil on copper in which the Virgin of the Milk or of the Good Milk is represented, also known as nourishing Virgin or wet nurse, Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the grotto of Bethlehem; it is an invocation and an iconography of the Virgin Mary, in which she is represented in the act of suckling the Baby Jesus. This representation has had various developments in sacred art, such as painting, sculpture and the particular iconography of the Orthodox Church; the representation of the Virgin suckling the infant Jesus is mentioned by Pope Gregory the Great, a mosaic with this representation probably dating from the 12th century is found on the façade of the Basilica of Santa Maria in Trastevere, although a few other examples from the early Middle Ages still survive. It is thought that this invocation may be a syncretism of the mother-goddesses, in particular the goddess Isis suckling Horus, and the earliest images probably appeared in Coptic art. The Milk Grotto is a place in Bethlehem, very close to the Basilica of the Nativity, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour, becoming white. Because of this, stones from the grotto (made of calcium carbonate) were considered relics in the early centuries because, when diluted in water, the water took on the appearance of milk. The shrine erected here is used by women who ask the Virgin to improve the quality of their breast milk. A theme in Christian hagiography linked to the nursing Virgin is that of Lactatio Bernardi, according to which the Virgin appeared in a dream to a monk and, by giving him some of her milk, granted him a miraculous gift. It is a painting belonging to the Flemish school, and we will now describe some characteristics of this school. In this painting, there is a realistic reaction to the fantasy of the international gothic, it is a painting very influenced by the art of sculpture, it is usually generalised oil painting (on panel), it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, they tend to have many details, refinement is also abandoned, real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively.
"Virgin of the milk".
Oil on copper.
Size: 17,5 x 13 cm; 21 x 17,5 cm (frame).
Oil on copper in which the Virgin of the Milk or of the Good Milk is represented, also known as nourishing Virgin or wet nurse, Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the grotto of Bethlehem; it is an invocation and an iconography of the Virgin Mary, in which she is represented in the act of suckling the Baby Jesus. This representation has had various developments in sacred art, such as painting, sculpture and the particular iconography of the Orthodox Church; the representation of the Virgin suckling the infant Jesus is mentioned by Pope Gregory the Great, a mosaic with this representation probably dating from the 12th century is found on the façade of the Basilica of Santa Maria in Trastevere, although a few other examples from the early Middle Ages still survive. It is thought that this invocation may be a syncretism of the mother-goddesses, in particular the goddess Isis suckling Horus, and the earliest images probably appeared in Coptic art. The Milk Grotto is a place in Bethlehem, very close to the Basilica of the Nativity, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour, becoming white. Because of this, stones from the grotto (made of calcium carbonate) were considered relics in the early centuries because, when diluted in water, the water took on the appearance of milk. The shrine erected here is used by women who ask the Virgin to improve the quality of their breast milk. A theme in Christian hagiography linked to the nursing Virgin is that of Lactatio Bernardi, according to which the Virgin appeared in a dream to a monk and, by giving him some of her milk, granted him a miraculous gift. It is a painting belonging to the Flemish school, and we will now describe some characteristics of this school. In this painting, there is a realistic reaction to the fantasy of the international gothic, it is a painting very influenced by the art of sculpture, it is usually generalised oil painting (on panel), it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, they tend to have many details, refinement is also abandoned, real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively.
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Flemish school; mid-16th century.
"Virgin of the milk".
Oil on copper.
Size: 17,5 x 13 cm; 21 x 17,5 cm (frame).
Oil on copper in which the Virgin of the Milk or of the Good Milk is represented, also known as nourishing Virgin or wet nurse, Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the grotto of Bethlehem; it is an invocation and an iconography of the Virgin Mary, in which she is represented in the act of suckling the Baby Jesus. This representation has had various developments in sacred art, such as painting, sculpture and the particular iconography of the Orthodox Church; the representation of the Virgin suckling the infant Jesus is mentioned by Pope Gregory the Great, a mosaic with this representation probably dating from the 12th century is found on the façade of the Basilica of Santa Maria in Trastevere, although a few other examples from the early Middle Ages still survive. It is thought that this invocation may be a syncretism of the mother-goddesses, in particular the goddess Isis suckling Horus, and the earliest images probably appeared in Coptic art. The Milk Grotto is a place in Bethlehem, very close to the Basilica of the Nativity, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour, becoming white. Because of this, stones from the grotto (made of calcium carbonate) were considered relics in the early centuries because, when diluted in water, the water took on the appearance of milk. The shrine erected here is used by women who ask the Virgin to improve the quality of their breast milk. A theme in Christian hagiography linked to the nursing Virgin is that of Lactatio Bernardi, according to which the Virgin appeared in a dream to a monk and, by giving him some of her milk, granted him a miraculous gift. It is a painting belonging to the Flemish school, and we will now describe some characteristics of this school. In this painting, there is a realistic reaction to the fantasy of the international gothic, it is a painting very influenced by the art of sculpture, it is usually generalised oil painting (on panel), it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, they tend to have many details, refinement is also abandoned, real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively.
"Virgin of the milk".
Oil on copper.
Size: 17,5 x 13 cm; 21 x 17,5 cm (frame).
Oil on copper in which the Virgin of the Milk or of the Good Milk is represented, also known as nourishing Virgin or wet nurse, Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the grotto of Bethlehem; it is an invocation and an iconography of the Virgin Mary, in which she is represented in the act of suckling the Baby Jesus. This representation has had various developments in sacred art, such as painting, sculpture and the particular iconography of the Orthodox Church; the representation of the Virgin suckling the infant Jesus is mentioned by Pope Gregory the Great, a mosaic with this representation probably dating from the 12th century is found on the façade of the Basilica of Santa Maria in Trastevere, although a few other examples from the early Middle Ages still survive. It is thought that this invocation may be a syncretism of the mother-goddesses, in particular the goddess Isis suckling Horus, and the earliest images probably appeared in Coptic art. The Milk Grotto is a place in Bethlehem, very close to the Basilica of the Nativity, where tradition says that the Virgin suckled the Child, and a drop spilled on a rock, which changed its colour, becoming white. Because of this, stones from the grotto (made of calcium carbonate) were considered relics in the early centuries because, when diluted in water, the water took on the appearance of milk. The shrine erected here is used by women who ask the Virgin to improve the quality of their breast milk. A theme in Christian hagiography linked to the nursing Virgin is that of Lactatio Bernardi, according to which the Virgin appeared in a dream to a monk and, by giving him some of her milk, granted him a miraculous gift. It is a painting belonging to the Flemish school, and we will now describe some characteristics of this school. In this painting, there is a realistic reaction to the fantasy of the international gothic, it is a painting very influenced by the art of sculpture, it is usually generalised oil painting (on panel), it is a painting with a great symbolic sense that allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, they tend to have many details, refinement is also abandoned, real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, and perspective is achieved intuitively.
22nd November - Old Masters
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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