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Granada school of the mid-18th century."Immaculate Conception".Oil on canvas. In its original
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Description
Granada school of the mid-18th century.
"Immaculate Conception".
Oil on canvas. In its original canvas.
Frame of Carlos III period.
It presents jumps and losses in the painting. The frame is damaged.
Measurements: 124 x 93 cm; 136 x 107 cm (frame).
The theme of the Immaculate Conception, very frequent in the Spanish art of the 17th century, became one of the national identity signs of Spain as a catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that 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 spread the Immaculate Conception, bringing together symbolism and popular fervour. Due to its stylistic characteristics, the work in question can be classified as part of the Andalusian school of the late second half of the 18th century. It is a direct heir to the Baroque models of Bartolomé Esteban Murillo, both in terms of composition and iconography. Thus, we see Mary dressed in a white tunic, wearing a blue mantle that floats around her. The figures of the child angels also derive directly from Murillo's models, both in their conception and in their placement, distributed between the lower part of the painting, under the pedestal of clouds, and the upper part, as cherub heads surrounding the breaking of Glory. As we have already noted, the composition faithfully follows Murillo's models: Mary full-length in the centre, dressed in white and blue, with her hair flowing in soft undulations, surrounded by angels and clouds, with the open sky behind her figure, flooded by the golden light of the Gloria.
"Immaculate Conception".
Oil on canvas. In its original canvas.
Frame of Carlos III period.
It presents jumps and losses in the painting. The frame is damaged.
Measurements: 124 x 93 cm; 136 x 107 cm (frame).
The theme of the Immaculate Conception, very frequent in the Spanish art of the 17th century, became one of the national identity signs of Spain as a catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that 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 spread the Immaculate Conception, bringing together symbolism and popular fervour. Due to its stylistic characteristics, the work in question can be classified as part of the Andalusian school of the late second half of the 18th century. It is a direct heir to the Baroque models of Bartolomé Esteban Murillo, both in terms of composition and iconography. Thus, we see Mary dressed in a white tunic, wearing a blue mantle that floats around her. The figures of the child angels also derive directly from Murillo's models, both in their conception and in their placement, distributed between the lower part of the painting, under the pedestal of clouds, and the upper part, as cherub heads surrounding the breaking of Glory. As we have already noted, the composition faithfully follows Murillo's models: Mary full-length in the centre, dressed in white and blue, with her hair flowing in soft undulations, surrounded by angels and clouds, with the open sky behind her figure, flooded by the golden light of the Gloria.
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Granada school of the mid-18th century.
"Immaculate Conception".
Oil on canvas. In its original canvas.
Frame of Carlos III period.
It presents jumps and losses in the painting. The frame is damaged.
Measurements: 124 x 93 cm; 136 x 107 cm (frame).
The theme of the Immaculate Conception, very frequent in the Spanish art of the 17th century, became one of the national identity signs of Spain as a catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that 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 spread the Immaculate Conception, bringing together symbolism and popular fervour. Due to its stylistic characteristics, the work in question can be classified as part of the Andalusian school of the late second half of the 18th century. It is a direct heir to the Baroque models of Bartolomé Esteban Murillo, both in terms of composition and iconography. Thus, we see Mary dressed in a white tunic, wearing a blue mantle that floats around her. The figures of the child angels also derive directly from Murillo's models, both in their conception and in their placement, distributed between the lower part of the painting, under the pedestal of clouds, and the upper part, as cherub heads surrounding the breaking of Glory. As we have already noted, the composition faithfully follows Murillo's models: Mary full-length in the centre, dressed in white and blue, with her hair flowing in soft undulations, surrounded by angels and clouds, with the open sky behind her figure, flooded by the golden light of the Gloria.
"Immaculate Conception".
Oil on canvas. In its original canvas.
Frame of Carlos III period.
It presents jumps and losses in the painting. The frame is damaged.
Measurements: 124 x 93 cm; 136 x 107 cm (frame).
The theme of the Immaculate Conception, very frequent in the Spanish art of the 17th century, became one of the national identity signs of Spain as a catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, given that 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 spread the Immaculate Conception, bringing together symbolism and popular fervour. Due to its stylistic characteristics, the work in question can be classified as part of the Andalusian school of the late second half of the 18th century. It is a direct heir to the Baroque models of Bartolomé Esteban Murillo, both in terms of composition and iconography. Thus, we see Mary dressed in a white tunic, wearing a blue mantle that floats around her. The figures of the child angels also derive directly from Murillo's models, both in their conception and in their placement, distributed between the lower part of the painting, under the pedestal of clouds, and the upper part, as cherub heads surrounding the breaking of Glory. As we have already noted, the composition faithfully follows Murillo's models: Mary full-length in the centre, dressed in white and blue, with her hair flowing in soft undulations, surrounded by angels and clouds, with the open sky behind her figure, flooded by the golden light of the Gloria.
28th September - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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