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Guatemalan school; 18th century."Magdalena en el Calvario" (Magdalene on Calvary).Carved and
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Description
Guatemalan school; 18th century.
"Magdalena en el Calvario" (Magdalene on Calvary).
Carved and polychrome wood.
Measurements: 31,5 x 15 x 10 cm.
Round sculpture made of carved, polychromed and gilded wood, representing the Magdalene with her whole body, in a graceful and naturalistic position, putting her foot forward, with her arms on her chest and turning her face upwards, adopting a dramatic expression, with a frown on her face and her lips half open. The saint's posture indicates that she was probably part of a larger sculptural ensemble, being placed at the foot of the cross of Christ. Formally, it is worth highlighting the magnificent work of the elastic, expressive and chiaroscuro folds and the embroidered tunic, designed to shine and create expressive effects of light and shadow in the candlelight inside the church. The mantle also falls in wide folds, adding dynamism to the composition and reinforcing its pyramidal, balanced and settled character. However, the greatest delicacy is concentrated in the face, which is expressive, beautiful and softly rounded, with a realistic and gentle character.
The stylistic characteristics of the piece are largely reminiscent of the sculpture of the master Manuel Chili (Quito, 1720-1796). Known as Caspicara, meaning "wooden face", he was an Ecuadorian sculptor who exemplified the Quito School movement in the 18th-century Andes. His major religious works, characterised by polychrome wooden sculptures in an elegant Spanish Baroque style, are preserved in the Cathedral of Quito and the Church of San Francisco in Quito, Ecuador, and in Popayán, Colombia. His work was rediscovered in 1791 and championed by Eugenio Espejo, then the country's leading intellectual. Caspicara was born into an indigenous family in Quito around 1723. Among his predecessors was Lucas Barrionuevo (d. 1594) and among his mentors was Bernardo de Legarda (. As a sculptor, he worked in both wood and marble, always within the predominant Baroque style and with a religious motif. He grouped figures in a manner evocative of both painting and sculpture. His technique of representation, especially of the human anatomy, was highly detailed, expressive and precise.
"Magdalena en el Calvario" (Magdalene on Calvary).
Carved and polychrome wood.
Measurements: 31,5 x 15 x 10 cm.
Round sculpture made of carved, polychromed and gilded wood, representing the Magdalene with her whole body, in a graceful and naturalistic position, putting her foot forward, with her arms on her chest and turning her face upwards, adopting a dramatic expression, with a frown on her face and her lips half open. The saint's posture indicates that she was probably part of a larger sculptural ensemble, being placed at the foot of the cross of Christ. Formally, it is worth highlighting the magnificent work of the elastic, expressive and chiaroscuro folds and the embroidered tunic, designed to shine and create expressive effects of light and shadow in the candlelight inside the church. The mantle also falls in wide folds, adding dynamism to the composition and reinforcing its pyramidal, balanced and settled character. However, the greatest delicacy is concentrated in the face, which is expressive, beautiful and softly rounded, with a realistic and gentle character.
The stylistic characteristics of the piece are largely reminiscent of the sculpture of the master Manuel Chili (Quito, 1720-1796). Known as Caspicara, meaning "wooden face", he was an Ecuadorian sculptor who exemplified the Quito School movement in the 18th-century Andes. His major religious works, characterised by polychrome wooden sculptures in an elegant Spanish Baroque style, are preserved in the Cathedral of Quito and the Church of San Francisco in Quito, Ecuador, and in Popayán, Colombia. His work was rediscovered in 1791 and championed by Eugenio Espejo, then the country's leading intellectual. Caspicara was born into an indigenous family in Quito around 1723. Among his predecessors was Lucas Barrionuevo (d. 1594) and among his mentors was Bernardo de Legarda (. As a sculptor, he worked in both wood and marble, always within the predominant Baroque style and with a religious motif. He grouped figures in a manner evocative of both painting and sculpture. His technique of representation, especially of the human anatomy, was highly detailed, expressive and precise.
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Guatemalan school; 18th century.
"Magdalena en el Calvario" (Magdalene on Calvary).
Carved and polychrome wood.
Measurements: 31,5 x 15 x 10 cm.
Round sculpture made of carved, polychromed and gilded wood, representing the Magdalene with her whole body, in a graceful and naturalistic position, putting her foot forward, with her arms on her chest and turning her face upwards, adopting a dramatic expression, with a frown on her face and her lips half open. The saint's posture indicates that she was probably part of a larger sculptural ensemble, being placed at the foot of the cross of Christ. Formally, it is worth highlighting the magnificent work of the elastic, expressive and chiaroscuro folds and the embroidered tunic, designed to shine and create expressive effects of light and shadow in the candlelight inside the church. The mantle also falls in wide folds, adding dynamism to the composition and reinforcing its pyramidal, balanced and settled character. However, the greatest delicacy is concentrated in the face, which is expressive, beautiful and softly rounded, with a realistic and gentle character.
The stylistic characteristics of the piece are largely reminiscent of the sculpture of the master Manuel Chili (Quito, 1720-1796). Known as Caspicara, meaning "wooden face", he was an Ecuadorian sculptor who exemplified the Quito School movement in the 18th-century Andes. His major religious works, characterised by polychrome wooden sculptures in an elegant Spanish Baroque style, are preserved in the Cathedral of Quito and the Church of San Francisco in Quito, Ecuador, and in Popayán, Colombia. His work was rediscovered in 1791 and championed by Eugenio Espejo, then the country's leading intellectual. Caspicara was born into an indigenous family in Quito around 1723. Among his predecessors was Lucas Barrionuevo (d. 1594) and among his mentors was Bernardo de Legarda (. As a sculptor, he worked in both wood and marble, always within the predominant Baroque style and with a religious motif. He grouped figures in a manner evocative of both painting and sculpture. His technique of representation, especially of the human anatomy, was highly detailed, expressive and precise.
"Magdalena en el Calvario" (Magdalene on Calvary).
Carved and polychrome wood.
Measurements: 31,5 x 15 x 10 cm.
Round sculpture made of carved, polychromed and gilded wood, representing the Magdalene with her whole body, in a graceful and naturalistic position, putting her foot forward, with her arms on her chest and turning her face upwards, adopting a dramatic expression, with a frown on her face and her lips half open. The saint's posture indicates that she was probably part of a larger sculptural ensemble, being placed at the foot of the cross of Christ. Formally, it is worth highlighting the magnificent work of the elastic, expressive and chiaroscuro folds and the embroidered tunic, designed to shine and create expressive effects of light and shadow in the candlelight inside the church. The mantle also falls in wide folds, adding dynamism to the composition and reinforcing its pyramidal, balanced and settled character. However, the greatest delicacy is concentrated in the face, which is expressive, beautiful and softly rounded, with a realistic and gentle character.
The stylistic characteristics of the piece are largely reminiscent of the sculpture of the master Manuel Chili (Quito, 1720-1796). Known as Caspicara, meaning "wooden face", he was an Ecuadorian sculptor who exemplified the Quito School movement in the 18th-century Andes. His major religious works, characterised by polychrome wooden sculptures in an elegant Spanish Baroque style, are preserved in the Cathedral of Quito and the Church of San Francisco in Quito, Ecuador, and in Popayán, Colombia. His work was rediscovered in 1791 and championed by Eugenio Espejo, then the country's leading intellectual. Caspicara was born into an indigenous family in Quito around 1723. Among his predecessors was Lucas Barrionuevo (d. 1594) and among his mentors was Bernardo de Legarda (. As a sculptor, he worked in both wood and marble, always within the predominant Baroque style and with a religious motif. He grouped figures in a manner evocative of both painting and sculpture. His technique of representation, especially of the human anatomy, was highly detailed, expressive and precise.
28th September - Old Masters
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