Null JORGE MANUEL THEOTOCÓPULI (Toledo, 1578- 1631).

"St. Francis of Assisi. 

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Description

JORGE MANUEL THEOTOCÓPULI (Toledo, 1578- 1631). "St. Francis of Assisi. Oil on canvas. Relined. It has a label on the back. Attached report issued by Don J. M. Quesada. Measurements: 106.5 x 81 cm; 125 x 100 cm (frame). Aesthetically this work follows the models of the painting attributed to the circle of El Greco that belongs to the collection of the Museum of Fine Arts of Bilbao, Donation Antonio Santamarina in 1975. The piece represents St. Francis of Assisi in profile to the viewer, completely inserted in prayer, as he directs his face towards the crucifix in the upper area. Both the use of a dark color palette reduced to very few tones that dominates the whole scene, as well as the scarcity of elements deliberately portrayed by the author, show us his interest in the symbolism and the message he wants to convey to the faithful. As for the model, it should be noted that El Greco resorted to this theme on numerous occasions, the first time being around 1577. Finally, the most popular model was the one on which this painting is based, which was widely reproduced by his disciples. In this particular case it is worth mentioning that the stylized canon of the protagonist of the scene and the palette used bring us aesthetically close to the work of Jorge Manuel Theotocópuli, son of the famous El Greco. Jorge Manuel was artistically trained in his father's workshop, where he worked until his father's death. Although it is true that throughout his career he participated alone in other projects as an architect and painter. His pictorial work was distinguished by continuing with the aesthetic precepts of his father. However, where he especially excelled was in the field of architecture; he even designed the building of the Toledo City Hall, in addition to being ordained master builder of the primate cathedral. Attached is a report issued by Mr. J. M. Quesada.

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JORGE MANUEL THEOTOCÓPULI (Toledo, 1578- 1631). "St. Francis of Assisi. Oil on canvas. Relined. It has a label on the back. Attached report issued by Don J. M. Quesada. Measurements: 106.5 x 81 cm; 125 x 100 cm (frame). Aesthetically this work follows the models of the painting attributed to the circle of El Greco that belongs to the collection of the Museum of Fine Arts of Bilbao, Donation Antonio Santamarina in 1975. The piece represents St. Francis of Assisi in profile to the viewer, completely inserted in prayer, as he directs his face towards the crucifix in the upper area. Both the use of a dark color palette reduced to very few tones that dominates the whole scene, as well as the scarcity of elements deliberately portrayed by the author, show us his interest in the symbolism and the message he wants to convey to the faithful. As for the model, it should be noted that El Greco resorted to this theme on numerous occasions, the first time being around 1577. Finally, the most popular model was the one on which this painting is based, which was widely reproduced by his disciples. In this particular case it is worth mentioning that the stylized canon of the protagonist of the scene and the palette used bring us aesthetically close to the work of Jorge Manuel Theotocópuli, son of the famous El Greco. Jorge Manuel was artistically trained in his father's workshop, where he worked until his father's death. Although it is true that throughout his career he participated alone in other projects as an architect and painter. His pictorial work was distinguished by continuing with the aesthetic precepts of his father. However, where he especially excelled was in the field of architecture; he even designed the building of the Toledo City Hall, in addition to being ordained master builder of the primate cathedral. Attached is a report issued by Mr. J. M. Quesada.

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Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel ...