Description
FRANCISCO GOMEZ DE VALENCIA (Granada, 1657- ¿?). "Lamentation over the dead Christ". Oil on canvas. Relined. Measurements: 164 x 109 cm; 178 x 123 cm (frame). The influence of Van Dyck was marked in the painting of Francisco Gómez de Valencia, as well as in that of his father Felipe. This is particularly evident in the Lamentation of the Dead Christ, given that compositionally and thematically this painting is very close to the one by Van Dyck in the Bilbao Fine Arts Museum: the Virgin's face is illuminated and flees towards the sky while she holds in her lap the head of her son, whose body is only partially covered by the shroud. As in Van Dyck's painting, angels share Mary's pain. They point out the stigmata and wounds of the recumbent body. This is a characteristic Andalusian Baroque work, which displays a palette of varied colours and excellent ranges of light, from the white of the shroud to the cobalt blues shimmering in the distance. Also noteworthy is the deft anatomical rendering of the dead Christ in contrast to the plump angels. Francisco Gómez de Valencia was a Spanish Baroque painter, son of the painter Felipe Gómez de Valencia and a follower of his father's style as a member of the school of painting created in that city around the work of Alonso Cano. According to Ceán Bermúdez, Francisco inherited his father's sense of sweet colour and facility for drawing, as evidenced by the large paintings in the sacristy of the Discalced Carmelites in Granada, dedicated to the saints of the order, and can also be seen in some of his works in the Museo de Bellas Artes in Granada, particularly the signed Virgen de las Angustias, in which he depicted a motif repeated on various occasions by his father, always using Flemish prints. Not before 1699, the year in which a canvas of the Dormition of the Virgin in the Granada museum is dated, he must have moved to Mexico, according to Ceán Bermúdez, where he died in the middle of the 18th century. Alfonso E. Pérez Sánchez mentions in this connection an Assumption, with Canesque recollections, signed by him and now in the San Carlos Academy in Mexico.
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FRANCISCO GOMEZ DE VALENCIA (Granada, 1657- ¿?). "Lamentation over the dead Christ". Oil on canvas. Relined. Measurements: 164 x 109 cm; 178 x 123 cm (frame). The influence of Van Dyck was marked in the painting of Francisco Gómez de Valencia, as well as in that of his father Felipe. This is particularly evident in the Lamentation of the Dead Christ, given that compositionally and thematically this painting is very close to the one by Van Dyck in the Bilbao Fine Arts Museum: the Virgin's face is illuminated and flees towards the sky while she holds in her lap the head of her son, whose body is only partially covered by the shroud. As in Van Dyck's painting, angels share Mary's pain. They point out the stigmata and wounds of the recumbent body. This is a characteristic Andalusian Baroque work, which displays a palette of varied colours and excellent ranges of light, from the white of the shroud to the cobalt blues shimmering in the distance. Also noteworthy is the deft anatomical rendering of the dead Christ in contrast to the plump angels. Francisco Gómez de Valencia was a Spanish Baroque painter, son of the painter Felipe Gómez de Valencia and a follower of his father's style as a member of the school of painting created in that city around the work of Alonso Cano. According to Ceán Bermúdez, Francisco inherited his father's sense of sweet colour and facility for drawing, as evidenced by the large paintings in the sacristy of the Discalced Carmelites in Granada, dedicated to the saints of the order, and can also be seen in some of his works in the Museo de Bellas Artes in Granada, particularly the signed Virgen de las Angustias, in which he depicted a motif repeated on various occasions by his father, always using Flemish prints. Not before 1699, the year in which a canvas of the Dormition of the Virgin in the Granada museum is dated, he must have moved to Mexico, according to Ceán Bermúdez, where he died in the middle of the 18th century. Alfonso E. Pérez Sánchez mentions in this connection an Assumption, with Canesque recollections, signed by him and now in the San Carlos Academy in Mexico.
