Lot

26

Castilian School. Second quarter of the 16th century.

In Legends, Myths and Symbols

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Castilian School. Second quarter of the 16th century. - Image 1 of 8
Castilian School. Second quarter of the 16th century. - Image 2 of 8
Castilian School. Second quarter of the 16th century. - Image 3 of 8
Castilian School. Second quarter of the 16th century. - Image 4 of 8
Castilian School. Second quarter of the 16th century. - Image 5 of 8
Castilian School. Second quarter of the 16th century. - Image 6 of 8
Castilian School. Second quarter of the 16th century. - Image 7 of 8
Castilian School. Second quarter of the 16th century. - Image 8 of 8
Castilian School. Second quarter of the 16th century. - Image 1 of 8
Castilian School. Second quarter of the 16th century. - Image 2 of 8
Castilian School. Second quarter of the 16th century. - Image 3 of 8
Castilian School. Second quarter of the 16th century. - Image 4 of 8
Castilian School. Second quarter of the 16th century. - Image 5 of 8
Castilian School. Second quarter of the 16th century. - Image 6 of 8
Castilian School. Second quarter of the 16th century. - Image 7 of 8
Castilian School. Second quarter of the 16th century. - Image 8 of 8
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Barcelona
Castilian School. Second quarter of the 16th century.“The Vocation of the first Apostles”Oil on panel. 125 x 71cm.This is an interesting Renaissance panel that represents an episode that took place while the first Apostles (Saint Peter, Saint Andrew, Saint James and John) were still working at their jobs, which has an allegorical meaning since they were humble fishermen who, after meeting Christ, served as "fishers of people". Saint Matthew narrates said passage in his Gospel: "As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him." (Matthew 4, 18-20). At first glance, two things are clear: that the panel is incomplete or that it was paired with another that completed the episode, and that of the four apostles in this panel only three have been portrayed: Saint Peter in the boat, Saint John beardless and a third bearded saint who must be Saint Andrew or Saint James.The panel is made up of two planes: a foreground where the monumental figures of the Apostles are found and a more distant background that gradually forms a landscape that is lost in depth in a fortified city with a wall from which two cubes can be seen. There, numerous houses and palaces are barely sketched and a mountain with trees closes the view. The section between the foreground and the city is an arid landscape, the banks of the river, only enlivened by unevenness and a large rock or mountain in which a cave seems to open.As we pointed out, in the foreground, you can see the monumental figures of Saint John and the bearded apostle who walk along the shore of the sea/lake, in which the anonymous painter included anecdotal elements such as pebbles or the water that crashes against the earth, where they suddenly turn around in surprise and direct their gaze and their gestures – including the index finger of the bearded apostle's left hand – towards an extraordinary incident that we cannot see but that would have been the miracle that Christ worked from a boat in the lake. Both wear short tunics and cloaks, arranged differently to avoid monotony. From behind, Saint Peter appears aboard a boat and on the far right half a fish can be seen, which again poses the question whether the panel was larger or was paired with another that completed the episode.  Saint Peter is characterized as usual as an old man with a prominent bald head and grey hair, beard and moustache. His gesture is severe, as if he were making an effort in the action he is carrying out: moving the oar, and he has therefore been portrayed in a dynamic posture, with one of his legs raised and both arms raised to start rowing.The three characters are drawn with precision, with a clear predominance of drawing over colour, which is applied in almost flat tones, barely modulated by similar tones to try to create the sensation of volume from chiaroscuro and shadows. The facial features are small and angular, with very small eyes, wide and narrow noses, powerful chins, and individualized hair, while the countenances are pensive and the anatomies are correctly treated, although a slightly stylized canon can be perceived.Although the panel can already be considered to be Renaissance, it is worth mentioning that it is early Renaissance, in which we still find some late Gothic elements such as the presence of golden haloes in which the punch-marking technique has been used, the same that we see on Saint Peter's tunic, decorated with plant motifs silhouetted with reddish touches, and also on some borders on the clothing of the other two apostles. Dateable from the first third of the 16th century, due to the different styles, colouring and drawing, it is probably the work of a Castilian master, although we cannot be specific about which one.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Castilian School. Second quarter of the 16th century.“The Vocation of the first Apostles”Oil on panel. 125 x 71cm.This is an interesting Renaissance panel that represents an episode that took place while the first Apostles (Saint Peter, Saint Andrew, Saint James and John) were still working at their jobs, which has an allegorical meaning since they were humble fishermen who, after meeting Christ, served as "fishers of people". Saint Matthew narrates said passage in his Gospel: "As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him." (Matthew 4, 18-20). At first glance, two things are clear: that the panel is incomplete or that it was paired with another that completed the episode, and that of the four apostles in this panel only three have been portrayed: Saint Peter in the boat, Saint John beardless and a third bearded saint who must be Saint Andrew or Saint James.The panel is made up of two planes: a foreground where the monumental figures of the Apostles are found and a more distant background that gradually forms a landscape that is lost in depth in a fortified city with a wall from which two cubes can be seen. There, numerous houses and palaces are barely sketched and a mountain with trees closes the view. The section between the foreground and the city is an arid landscape, the banks of the river, only enlivened by unevenness and a large rock or mountain in which a cave seems to open.As we pointed out, in the foreground, you can see the monumental figures of Saint John and the bearded apostle who walk along the shore of the sea/lake, in which the anonymous painter included anecdotal elements such as pebbles or the water that crashes against the earth, where they suddenly turn around in surprise and direct their gaze and their gestures – including the index finger of the bearded apostle's left hand – towards an extraordinary incident that we cannot see but that would have been the miracle that Christ worked from a boat in the lake. Both wear short tunics and cloaks, arranged differently to avoid monotony. From behind, Saint Peter appears aboard a boat and on the far right half a fish can be seen, which again poses the question whether the panel was larger or was paired with another that completed the episode.  Saint Peter is characterized as usual as an old man with a prominent bald head and grey hair, beard and moustache. His gesture is severe, as if he were making an effort in the action he is carrying out: moving the oar, and he has therefore been portrayed in a dynamic posture, with one of his legs raised and both arms raised to start rowing.The three characters are drawn with precision, with a clear predominance of drawing over colour, which is applied in almost flat tones, barely modulated by similar tones to try to create the sensation of volume from chiaroscuro and shadows. The facial features are small and angular, with very small eyes, wide and narrow noses, powerful chins, and individualized hair, while the countenances are pensive and the anatomies are correctly treated, although a slightly stylized canon can be perceived.Although the panel can already be considered to be Renaissance, it is worth mentioning that it is early Renaissance, in which we still find some late Gothic elements such as the presence of golden haloes in which the punch-marking technique has been used, the same that we see on Saint Peter's tunic, decorated with plant motifs silhouetted with reddish touches, and also on some borders on the clothing of the other two apostles. Dateable from the first third of the 16th century, due to the different styles, colouring and drawing, it is probably the work of a Castilian master, although we cannot be specific about which one.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.

Legends, Myths and Symbols

Sale Date(s)
Lots: 162
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Tags: 15th-18th Century Art