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Madrid School, last third of the 18th century."Immaculate Conception".Oil on canvas.Re-drawn. It
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Description
Madrid School, last third of the 18th century.
"Immaculate Conception".
Oil on canvas.
Re-drawn. It presents repainting.
Measurements: 192 x 124 cm; 207 x 144 cm (frame).
Following autochthonous, Andalusian and Castilian baroque models, the painter of this Marian representation has composed a sublime break of glory, in which the Virgin victorious over evil crushes with her right foot the head of the serpent. The reptile, with an apple in its jaws, embodies temptation. The Virgin, light and monumental at the same time, thanks to the masterful chromatic and lighting work, is surrounded by angels arranged symmetrically around her: a court of seraphim and, at the top, two angels who are preparing to crown her. In this way the theme of the Coronation of the Virgin is added to the iconography of the Immaculate Conception. Below the serpent and the lunar representation, the orb is drawn beneath the bare feet, emphasising the glorious role of the Mother of God. The Madrid school, influenced by the Murillo school, nevertheless stamped its own personality on Marian iconography, as can be seen in this painting. The theme of the Immaculate Conception, which was very common in 17th-century Spanish art, became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour.
"Immaculate Conception".
Oil on canvas.
Re-drawn. It presents repainting.
Measurements: 192 x 124 cm; 207 x 144 cm (frame).
Following autochthonous, Andalusian and Castilian baroque models, the painter of this Marian representation has composed a sublime break of glory, in which the Virgin victorious over evil crushes with her right foot the head of the serpent. The reptile, with an apple in its jaws, embodies temptation. The Virgin, light and monumental at the same time, thanks to the masterful chromatic and lighting work, is surrounded by angels arranged symmetrically around her: a court of seraphim and, at the top, two angels who are preparing to crown her. In this way the theme of the Coronation of the Virgin is added to the iconography of the Immaculate Conception. Below the serpent and the lunar representation, the orb is drawn beneath the bare feet, emphasising the glorious role of the Mother of God. The Madrid school, influenced by the Murillo school, nevertheless stamped its own personality on Marian iconography, as can be seen in this painting. The theme of the Immaculate Conception, which was very common in 17th-century Spanish art, became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour.
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Madrid School, last third of the 18th century.
"Immaculate Conception".
Oil on canvas.
Re-drawn. It presents repainting.
Measurements: 192 x 124 cm; 207 x 144 cm (frame).
Following autochthonous, Andalusian and Castilian baroque models, the painter of this Marian representation has composed a sublime break of glory, in which the Virgin victorious over evil crushes with her right foot the head of the serpent. The reptile, with an apple in its jaws, embodies temptation. The Virgin, light and monumental at the same time, thanks to the masterful chromatic and lighting work, is surrounded by angels arranged symmetrically around her: a court of seraphim and, at the top, two angels who are preparing to crown her. In this way the theme of the Coronation of the Virgin is added to the iconography of the Immaculate Conception. Below the serpent and the lunar representation, the orb is drawn beneath the bare feet, emphasising the glorious role of the Mother of God. The Madrid school, influenced by the Murillo school, nevertheless stamped its own personality on Marian iconography, as can be seen in this painting. The theme of the Immaculate Conception, which was very common in 17th-century Spanish art, became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour.
"Immaculate Conception".
Oil on canvas.
Re-drawn. It presents repainting.
Measurements: 192 x 124 cm; 207 x 144 cm (frame).
Following autochthonous, Andalusian and Castilian baroque models, the painter of this Marian representation has composed a sublime break of glory, in which the Virgin victorious over evil crushes with her right foot the head of the serpent. The reptile, with an apple in its jaws, embodies temptation. The Virgin, light and monumental at the same time, thanks to the masterful chromatic and lighting work, is surrounded by angels arranged symmetrically around her: a court of seraphim and, at the top, two angels who are preparing to crown her. In this way the theme of the Coronation of the Virgin is added to the iconography of the Immaculate Conception. Below the serpent and the lunar representation, the orb is drawn beneath the bare feet, emphasising the glorious role of the Mother of God. The Madrid school, influenced by the Murillo school, nevertheless stamped its own personality on Marian iconography, as can be seen in this painting. The theme of the Immaculate Conception, which was very common in 17th-century Spanish art, became one of Spain's national symbols of identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour.
6th April - Old Masters
Sale Date(s)
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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