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Granada School; second half of the 17th century."Angels".Oil on canvas.It presents losses on the
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Description
Granada School; second half of the 17th century.
"Angels".
Oil on canvas.
It presents losses on the pictorial layer, repainting and scratches from a later period.
Measurements: 61 x 43 cm; 67 x 48 cm (frame).
Two angels are the protagonists of this devotional image which stands out for the subtlety of the brushstrokes and the atmospheric vaporousness achieved by the artist with the application of ochre tonalities and an open pictorial finish. One of the older angels is in the foreground on the right, curled up on himself, avoiding the viewer's gaze, to whom he is presented in a reflective manner. In the background, a small cherub peeps out its infantile face, giving the scene dynamism and expressiveness.
Given the importance given to religious images in the Hispanic world, the 17th century saw the creation of ambitious pictorial series and extensive iconographic programmes for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt.
"Angels".
Oil on canvas.
It presents losses on the pictorial layer, repainting and scratches from a later period.
Measurements: 61 x 43 cm; 67 x 48 cm (frame).
Two angels are the protagonists of this devotional image which stands out for the subtlety of the brushstrokes and the atmospheric vaporousness achieved by the artist with the application of ochre tonalities and an open pictorial finish. One of the older angels is in the foreground on the right, curled up on himself, avoiding the viewer's gaze, to whom he is presented in a reflective manner. In the background, a small cherub peeps out its infantile face, giving the scene dynamism and expressiveness.
Given the importance given to religious images in the Hispanic world, the 17th century saw the creation of ambitious pictorial series and extensive iconographic programmes for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt.
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Granada School; second half of the 17th century.
"Angels".
Oil on canvas.
It presents losses on the pictorial layer, repainting and scratches from a later period.
Measurements: 61 x 43 cm; 67 x 48 cm (frame).
Two angels are the protagonists of this devotional image which stands out for the subtlety of the brushstrokes and the atmospheric vaporousness achieved by the artist with the application of ochre tonalities and an open pictorial finish. One of the older angels is in the foreground on the right, curled up on himself, avoiding the viewer's gaze, to whom he is presented in a reflective manner. In the background, a small cherub peeps out its infantile face, giving the scene dynamism and expressiveness.
Given the importance given to religious images in the Hispanic world, the 17th century saw the creation of ambitious pictorial series and extensive iconographic programmes for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt.
"Angels".
Oil on canvas.
It presents losses on the pictorial layer, repainting and scratches from a later period.
Measurements: 61 x 43 cm; 67 x 48 cm (frame).
Two angels are the protagonists of this devotional image which stands out for the subtlety of the brushstrokes and the atmospheric vaporousness achieved by the artist with the application of ochre tonalities and an open pictorial finish. One of the older angels is in the foreground on the right, curled up on himself, avoiding the viewer's gaze, to whom he is presented in a reflective manner. In the background, a small cherub peeps out its infantile face, giving the scene dynamism and expressiveness.
Given the importance given to religious images in the Hispanic world, the 17th century saw the creation of ambitious pictorial series and extensive iconographic programmes for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. As for the Granada school, when Alonso Cano returned to Granada in 1652, he attracted all the artists to him. It could almost be said that the features that characterise the school are the features of its style. Thus, in all of them, the search for the ideal and elegant in the types, the avoidance of realism and genre scenes, paying little attention to portraiture and almost no attention to still life. Rich colour intonations abound in all of them, with specific palette preferences, such as the use of asphalt.
9th March - Old Masters
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