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Sevillian school; late 17th century."Adoration of the Shepherds".Oil on canvas. Re-drawn.It presents
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Descrizione
Sevillian school; late 17th century.
"Adoration of the Shepherds".
Oil on canvas. Re-drawn.
It presents faults and restorations.
Measurements: 42 x 62,5 cm.
In this canvas, of symmetrical composition and animated by numerous characters, a classic theme in the History of Art is represented, the one of the shepherds adoring the newborn Baby Jesus in the Bethlehem's portal. It is a scene that lends itself to being interpreted as a large composition with numerous figures, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was represented on the canvas, to the sacred history of the scene.
The 17th century saw the arrival of the Baroque in the Sevillian school, a style that would reach its full maturity at the end of the century and also throughout the 18th century. With the new style came the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active in the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Adoration of the Shepherds".
Oil on canvas. Re-drawn.
It presents faults and restorations.
Measurements: 42 x 62,5 cm.
In this canvas, of symmetrical composition and animated by numerous characters, a classic theme in the History of Art is represented, the one of the shepherds adoring the newborn Baby Jesus in the Bethlehem's portal. It is a scene that lends itself to being interpreted as a large composition with numerous figures, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was represented on the canvas, to the sacred history of the scene.
The 17th century saw the arrival of the Baroque in the Sevillian school, a style that would reach its full maturity at the end of the century and also throughout the 18th century. With the new style came the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active in the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
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Sevillian school; late 17th century.
"Adoration of the Shepherds".
Oil on canvas. Re-drawn.
It presents faults and restorations.
Measurements: 42 x 62,5 cm.
In this canvas, of symmetrical composition and animated by numerous characters, a classic theme in the History of Art is represented, the one of the shepherds adoring the newborn Baby Jesus in the Bethlehem's portal. It is a scene that lends itself to being interpreted as a large composition with numerous figures, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was represented on the canvas, to the sacred history of the scene.
The 17th century saw the arrival of the Baroque in the Sevillian school, a style that would reach its full maturity at the end of the century and also throughout the 18th century. With the new style came the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active in the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Adoration of the Shepherds".
Oil on canvas. Re-drawn.
It presents faults and restorations.
Measurements: 42 x 62,5 cm.
In this canvas, of symmetrical composition and animated by numerous characters, a classic theme in the History of Art is represented, the one of the shepherds adoring the newborn Baby Jesus in the Bethlehem's portal. It is a scene that lends itself to being interpreted as a large composition with numerous figures, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was represented on the canvas, to the sacred history of the scene.
The 17th century saw the arrival of the Baroque in the Sevillian school, a style that would reach its full maturity at the end of the century and also throughout the 18th century. With the new style came the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active in the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
14th June - 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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