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Spanish school, 17th century."The Flagellation of Christ".Oil on canvas.Relined.Period frame and
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Beschreibung
Spanish school, 17th century.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
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Spanish school, 17th century.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
"The Flagellation of Christ".
Oil on canvas.
Relined.
Period frame and stretcher.
Measurements: 101 x 165 cm; 118 x 181 cm (frame).
In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening to different levels through windows and balconies. Thus, following a compositional scheme in the Italian tradition, the Flemish influence can also be seen in the spatial concept, but also the proximity to native developments, especially those of the Sevillian school, such as Valdés Leal. Christ, tied to a base, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Inner light seems to emanate from Jesus' anatomy, the whiteness of which is a transcription of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene unfolds on different planes, as the gazes and expressive grammar of each character reveal their thoughts in the face of the injustice they are witnessing.
In terms of iconography, all four Gospels mention the punishment suffered by Christ at this moment, although they make no reference to any pillar: this iconography arises from the word "chastisement" used by Luke, and was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterised by its height. There is another typology, however, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and which the Council of Trent was responsible for recovering for art, characterised precisely by the marble in which it is made and by its low height. This model of column, which does not deny the previous one as theologians recognise two moments in which Christ was flaged, was used in art from the end of the 16th century, coexisting with the high one, and spread rapidly throughout Europe.
22nd November - 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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PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
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