88
Spanish school of the early 18th century. Following models by BARTOLOME ESTEBAN MURILLO (Seville,
1/5
Description
Spanish school of the early 18th century. Following models by BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682).
"Virgin and Child".
Oil on canvas. Re-drawn.
With small paint flaws. Needs restoration.
Measurements: 42 x 37 cm; 50 x 45 cm (frame).
In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.
"Virgin and Child".
Oil on canvas. Re-drawn.
With small paint flaws. Needs restoration.
Measurements: 42 x 37 cm; 50 x 45 cm (frame).
In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.
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Spanish school of the early 18th century. Following models by BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682).
"Virgin and Child".
Oil on canvas. Re-drawn.
With small paint flaws. Needs restoration.
Measurements: 42 x 37 cm; 50 x 45 cm (frame).
In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.
"Virgin and Child".
Oil on canvas. Re-drawn.
With small paint flaws. Needs restoration.
Measurements: 42 x 37 cm; 50 x 45 cm (frame).
In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.
10th May - 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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