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Spanish School of the 18th century, following models of BARTOLOMÉ ESTEBAN MURILLO."Ferdinand III,
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Description
Spanish School of the 18th century, following models of BARTOLOMÉ ESTEBAN MURILLO.
"Ferdinand III, The Saint".
Oil on canvas, re-drawn.
Size: 115 x 90 cm; 123 x 97 cm (frame).
This work follows the model of the work painted by Bartolomé Esteban Murillo around 1671, conserved in the Cathedral of Seville, although the one we present here is full-length as opposed to the one in the Cathedral which is half-length. To depict the king, Murillo was inspired by the image of the monarch and the attributes already included in the commemorative medal approved in Rome in 1630, when the priest Bernardo de Toro processed his canonisation on behalf of Philip IV. The ball of the world projects him as Dominus, that is, lord; the sword, the Lobera, with which he conquered Seville - which is where much of his cult was focused - is the word of God that symbolised heroic virtue in the Golden Age, embodying a model of conduct for the knights of the Baroque, well reflected by Calderón de la Barca in his comedies of cloak and sword. However, the breastplate and ermine cloak prefigure God's protection over man.
"Ferdinand III, The Saint".
Oil on canvas, re-drawn.
Size: 115 x 90 cm; 123 x 97 cm (frame).
This work follows the model of the work painted by Bartolomé Esteban Murillo around 1671, conserved in the Cathedral of Seville, although the one we present here is full-length as opposed to the one in the Cathedral which is half-length. To depict the king, Murillo was inspired by the image of the monarch and the attributes already included in the commemorative medal approved in Rome in 1630, when the priest Bernardo de Toro processed his canonisation on behalf of Philip IV. The ball of the world projects him as Dominus, that is, lord; the sword, the Lobera, with which he conquered Seville - which is where much of his cult was focused - is the word of God that symbolised heroic virtue in the Golden Age, embodying a model of conduct for the knights of the Baroque, well reflected by Calderón de la Barca in his comedies of cloak and sword. However, the breastplate and ermine cloak prefigure God's protection over man.
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Spanish School of the 18th century, following models of BARTOLOMÉ ESTEBAN MURILLO.
"Ferdinand III, The Saint".
Oil on canvas, re-drawn.
Size: 115 x 90 cm; 123 x 97 cm (frame).
This work follows the model of the work painted by Bartolomé Esteban Murillo around 1671, conserved in the Cathedral of Seville, although the one we present here is full-length as opposed to the one in the Cathedral which is half-length. To depict the king, Murillo was inspired by the image of the monarch and the attributes already included in the commemorative medal approved in Rome in 1630, when the priest Bernardo de Toro processed his canonisation on behalf of Philip IV. The ball of the world projects him as Dominus, that is, lord; the sword, the Lobera, with which he conquered Seville - which is where much of his cult was focused - is the word of God that symbolised heroic virtue in the Golden Age, embodying a model of conduct for the knights of the Baroque, well reflected by Calderón de la Barca in his comedies of cloak and sword. However, the breastplate and ermine cloak prefigure God's protection over man.
"Ferdinand III, The Saint".
Oil on canvas, re-drawn.
Size: 115 x 90 cm; 123 x 97 cm (frame).
This work follows the model of the work painted by Bartolomé Esteban Murillo around 1671, conserved in the Cathedral of Seville, although the one we present here is full-length as opposed to the one in the Cathedral which is half-length. To depict the king, Murillo was inspired by the image of the monarch and the attributes already included in the commemorative medal approved in Rome in 1630, when the priest Bernardo de Toro processed his canonisation on behalf of Philip IV. The ball of the world projects him as Dominus, that is, lord; the sword, the Lobera, with which he conquered Seville - which is where much of his cult was focused - is the word of God that symbolised heroic virtue in the Golden Age, embodying a model of conduct for the knights of the Baroque, well reflected by Calderón de la Barca in his comedies of cloak and sword. However, the breastplate and ermine cloak prefigure God's protection over man.
26th October - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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