81
Spanish school, 19th century."Immaculate Virgin".Oil on glass.Measurements: 40,5 x 31 cm, 47 x 38,
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Description
Spanish school, 19th century.
"Immaculate Virgin".
Oil on glass.
Measurements: 40,5 x 31 cm, 47 x 38,5 cm (frame).
Devotional image of the Immaculate Conception, which presents the Virgin of bust, on a flat background worked in light tones. Mary is identified as Immaculate by three basic iconographic elements: the white tunic, symbol of purity, the blue mantle, which alludes to the concepts of truth and eternity, and the crown, symbol of fullness.
Towards the end of the Middle Ages a novel representation of the Immaculate Conception of Mary appeared. The Immaculate Virgin, sent from heaven by God who had chosen her for the work of Redemption, descends to earth. Standing on the moon, crowned with stars, she stretches out her arms like the praying women of the catacombs, or clasps her hands on her breast. To distinguish her from the ascending Virgin of the Assumption, she is depicted with her eyes turned towards the earth. Originally, this iconography included the symbols of the litanies.
The Immaculate Virgin is likened to the bride in the "Song of Songs", and various symbols popularised by the "Litany of the Virgin of Loreto" (whose current form dates from 1576) are associated with her: with the sun, with the moon represented by a silver crescent, with the star of the sea. Also with an enclosed garden, a fountain from the gardens, a well of living water, the cedar of Lebanon, the olive tree, with the lily blooming among thorns and with a rose bush. In addition to the spotless mirror, the tower of David, the city of God and the Gate of Heaven. The other attributes are taken from the Apocalypse: a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars. The moon is never depicted as full, as in the Crucifixion, but cut in the shape of a crescent, recalling Diana's chastity. After the victory of Lepanto, Christianity liked to interpret the crescent of the moon under the Virgin's feet as a symbol against the Muslims. It was 17th century Baroque art that created the definitive type of the Immaculate Conception. Freed of all the symbols of the Litany with which the theologians had overloaded her, surrounded only by angels, she floats in a mandorla above a crescent moon. Sometimes, to recall her victory over original sin, her feet, resting on the globe, crush the head of the tempting serpent.
"Immaculate Virgin".
Oil on glass.
Measurements: 40,5 x 31 cm, 47 x 38,5 cm (frame).
Devotional image of the Immaculate Conception, which presents the Virgin of bust, on a flat background worked in light tones. Mary is identified as Immaculate by three basic iconographic elements: the white tunic, symbol of purity, the blue mantle, which alludes to the concepts of truth and eternity, and the crown, symbol of fullness.
Towards the end of the Middle Ages a novel representation of the Immaculate Conception of Mary appeared. The Immaculate Virgin, sent from heaven by God who had chosen her for the work of Redemption, descends to earth. Standing on the moon, crowned with stars, she stretches out her arms like the praying women of the catacombs, or clasps her hands on her breast. To distinguish her from the ascending Virgin of the Assumption, she is depicted with her eyes turned towards the earth. Originally, this iconography included the symbols of the litanies.
The Immaculate Virgin is likened to the bride in the "Song of Songs", and various symbols popularised by the "Litany of the Virgin of Loreto" (whose current form dates from 1576) are associated with her: with the sun, with the moon represented by a silver crescent, with the star of the sea. Also with an enclosed garden, a fountain from the gardens, a well of living water, the cedar of Lebanon, the olive tree, with the lily blooming among thorns and with a rose bush. In addition to the spotless mirror, the tower of David, the city of God and the Gate of Heaven. The other attributes are taken from the Apocalypse: a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars. The moon is never depicted as full, as in the Crucifixion, but cut in the shape of a crescent, recalling Diana's chastity. After the victory of Lepanto, Christianity liked to interpret the crescent of the moon under the Virgin's feet as a symbol against the Muslims. It was 17th century Baroque art that created the definitive type of the Immaculate Conception. Freed of all the symbols of the Litany with which the theologians had overloaded her, surrounded only by angels, she floats in a mandorla above a crescent moon. Sometimes, to recall her victory over original sin, her feet, resting on the globe, crush the head of the tempting serpent.
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Spanish school, 19th century.
"Immaculate Virgin".
Oil on glass.
Measurements: 40,5 x 31 cm, 47 x 38,5 cm (frame).
Devotional image of the Immaculate Conception, which presents the Virgin of bust, on a flat background worked in light tones. Mary is identified as Immaculate by three basic iconographic elements: the white tunic, symbol of purity, the blue mantle, which alludes to the concepts of truth and eternity, and the crown, symbol of fullness.
Towards the end of the Middle Ages a novel representation of the Immaculate Conception of Mary appeared. The Immaculate Virgin, sent from heaven by God who had chosen her for the work of Redemption, descends to earth. Standing on the moon, crowned with stars, she stretches out her arms like the praying women of the catacombs, or clasps her hands on her breast. To distinguish her from the ascending Virgin of the Assumption, she is depicted with her eyes turned towards the earth. Originally, this iconography included the symbols of the litanies.
The Immaculate Virgin is likened to the bride in the "Song of Songs", and various symbols popularised by the "Litany of the Virgin of Loreto" (whose current form dates from 1576) are associated with her: with the sun, with the moon represented by a silver crescent, with the star of the sea. Also with an enclosed garden, a fountain from the gardens, a well of living water, the cedar of Lebanon, the olive tree, with the lily blooming among thorns and with a rose bush. In addition to the spotless mirror, the tower of David, the city of God and the Gate of Heaven. The other attributes are taken from the Apocalypse: a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars. The moon is never depicted as full, as in the Crucifixion, but cut in the shape of a crescent, recalling Diana's chastity. After the victory of Lepanto, Christianity liked to interpret the crescent of the moon under the Virgin's feet as a symbol against the Muslims. It was 17th century Baroque art that created the definitive type of the Immaculate Conception. Freed of all the symbols of the Litany with which the theologians had overloaded her, surrounded only by angels, she floats in a mandorla above a crescent moon. Sometimes, to recall her victory over original sin, her feet, resting on the globe, crush the head of the tempting serpent.
"Immaculate Virgin".
Oil on glass.
Measurements: 40,5 x 31 cm, 47 x 38,5 cm (frame).
Devotional image of the Immaculate Conception, which presents the Virgin of bust, on a flat background worked in light tones. Mary is identified as Immaculate by three basic iconographic elements: the white tunic, symbol of purity, the blue mantle, which alludes to the concepts of truth and eternity, and the crown, symbol of fullness.
Towards the end of the Middle Ages a novel representation of the Immaculate Conception of Mary appeared. The Immaculate Virgin, sent from heaven by God who had chosen her for the work of Redemption, descends to earth. Standing on the moon, crowned with stars, she stretches out her arms like the praying women of the catacombs, or clasps her hands on her breast. To distinguish her from the ascending Virgin of the Assumption, she is depicted with her eyes turned towards the earth. Originally, this iconography included the symbols of the litanies.
The Immaculate Virgin is likened to the bride in the "Song of Songs", and various symbols popularised by the "Litany of the Virgin of Loreto" (whose current form dates from 1576) are associated with her: with the sun, with the moon represented by a silver crescent, with the star of the sea. Also with an enclosed garden, a fountain from the gardens, a well of living water, the cedar of Lebanon, the olive tree, with the lily blooming among thorns and with a rose bush. In addition to the spotless mirror, the tower of David, the city of God and the Gate of Heaven. The other attributes are taken from the Apocalypse: a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars. The moon is never depicted as full, as in the Crucifixion, but cut in the shape of a crescent, recalling Diana's chastity. After the victory of Lepanto, Christianity liked to interpret the crescent of the moon under the Virgin's feet as a symbol against the Muslims. It was 17th century Baroque art that created the definitive type of the Immaculate Conception. Freed of all the symbols of the Litany with which the theologians had overloaded her, surrounded only by angels, she floats in a mandorla above a crescent moon. Sometimes, to recall her victory over original sin, her feet, resting on the globe, crush the head of the tempting serpent.
30th June - 19th & 20th Century Art
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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