Description
Spanish or Italian school of the XVI century. "San Pedro". Limestone. Provenance: French collection J.D. It presents damages originated by the passage of time. Measurements: 174 x 60 x 40 cm. Sculpture worked in limestone in round bulk representing the apostle St. Peter, which appears recognizable by the Gospels, although it does not retain the keys. Its canon, slightly stylized, and its harmonic features, is inspired by Renaissance and Gothic models that seek naturalism in expression and drapery. Saint Peter (Bethsaida, c. 1 B.C. - Rome, 67) was, according to the New Testament, a fisherman, known for being one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based, among other arguments, on the words addressed to him by Jesus: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven." St. Peter could be said to be the confessor of Jesus, his closest disciple, being both united by a very special bond, as narrated in the Gospels, both canonical and apocryphal. During the Gothic period, free-standing sculpture, independent of the architectural framework, considerably increased its repertoire, both in typology (sepulchers, pulpits...) and iconography (new saints, new orders...). With the arrival of the Gothic period, a substantial aesthetic change took place throughout Europe, both in architecture and in painting and sculpture. The symbolic and timeless hieratism of the Romanesque gave way to a desire for reality and narrative sense that had its roots in classical sculpture and forced artists to take nature as a model. Gothic sculptors therefore sought to represent the visible world as it is. In this way they try to humanize the gestures and attitudes of the characters, which acquire individuality. Aesthetic conventions were left behind -such as the large eyes that stood out above the rest of the face, which symbolized the soul of the character- and a naturalistic representation of faces, anatomy, clothing, etc. was sought. Following this new aesthetic line, the figures abandoned their vertical, symmetrical and hieratic postures to adopt others that were increasingly more expressive and gestural, with greater realism in movement. At the same time, they seek to represent the emotions of the characters through eloquent gestures of the face and hands.
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Spanish or Italian school of the XVI century. "San Pedro". Limestone. Provenance: French collection J.D. It presents damages originated by the passage of time. Measurements: 174 x 60 x 40 cm. Sculpture worked in limestone in round bulk representing the apostle St. Peter, which appears recognizable by the Gospels, although it does not retain the keys. Its canon, slightly stylized, and its harmonic features, is inspired by Renaissance and Gothic models that seek naturalism in expression and drapery. Saint Peter (Bethsaida, c. 1 B.C. - Rome, 67) was, according to the New Testament, a fisherman, known for being one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based, among other arguments, on the words addressed to him by Jesus: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven." St. Peter could be said to be the confessor of Jesus, his closest disciple, being both united by a very special bond, as narrated in the Gospels, both canonical and apocryphal. During the Gothic period, free-standing sculpture, independent of the architectural framework, considerably increased its repertoire, both in typology (sepulchers, pulpits...) and iconography (new saints, new orders...). With the arrival of the Gothic period, a substantial aesthetic change took place throughout Europe, both in architecture and in painting and sculpture. The symbolic and timeless hieratism of the Romanesque gave way to a desire for reality and narrative sense that had its roots in classical sculpture and forced artists to take nature as a model. Gothic sculptors therefore sought to represent the visible world as it is. In this way they try to humanize the gestures and attitudes of the characters, which acquire individuality. Aesthetic conventions were left behind -such as the large eyes that stood out above the rest of the face, which symbolized the soul of the character- and a naturalistic representation of faces, anatomy, clothing, etc. was sought. Following this new aesthetic line, the figures abandoned their vertical, symmetrical and hieratic postures to adopt others that were increasingly more expressive and gestural, with greater realism in movement. At the same time, they seek to represent the emotions of the characters through eloquent gestures of the face and hands.
