Description
Granada School; second half of the seventeenth century. "Virgin of Rosario". Oil on canvas. It has slight flaws on the pictorial surface. Measurements: 63 x 50 cm. This painting is inspired by the "Virgen del Rosario" by Alonso Cano, painted around 1665 and located in the Cathedral of Malaga. In a sky of golden and vaporous texture, the figures located in large size in the foreground stand out. Mary, dressed in a reddish tunic and a blue mantle that slides down her arms, holds the Child Jesus in her lap. He holds a rosary in his left hand. Four cherubs, worked in various foreshortenings, float around the cloud that holds the group in an ethereal condition. The painting, both in composition and execution, brings to mind the "Virgin of the Rosary" by Alonso Cano. Specifically, it is inspired by the upper part of the painting, obviating the representation of the group of saints that the master from Granada placed in the lower part. Moreover, it does not pretend to be faithful to the original (see variations in postures, gestures and attributes), but it is faithful to the creative spirit of Cano, one of the most outstanding figures of the Andalusian Baroque.The 17th century marked the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, loose workmanship and many other aesthetic liberties. At this time the school reached its greatest splendor, both for the quality of the works and for the primordial rank of Sevillian Baroque painting. Thus, during the transition to Baroque we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, in whose works the rapid brushstroke and the crude realism of the style is already manifested, and Juan de Roelas, introducer of Venetian colorism. In the middle of the century the period reached its peak, 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 during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others. It presents slight flaws on the pictorial surface.
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Granada School; second half of the seventeenth century. "Virgin of Rosario". Oil on canvas. It has slight flaws on the pictorial surface. Measurements: 63 x 50 cm. This painting is inspired by the "Virgen del Rosario" by Alonso Cano, painted around 1665 and located in the Cathedral of Malaga. In a sky of golden and vaporous texture, the figures located in large size in the foreground stand out. Mary, dressed in a reddish tunic and a blue mantle that slides down her arms, holds the Child Jesus in her lap. He holds a rosary in his left hand. Four cherubs, worked in various foreshortenings, float around the cloud that holds the group in an ethereal condition. The painting, both in composition and execution, brings to mind the "Virgin of the Rosary" by Alonso Cano. Specifically, it is inspired by the upper part of the painting, obviating the representation of the group of saints that the master from Granada placed in the lower part. Moreover, it does not pretend to be faithful to the original (see variations in postures, gestures and attributes), but it is faithful to the creative spirit of Cano, one of the most outstanding figures of the Andalusian Baroque.The 17th century marked the arrival of the Baroque in the Andalusian school, with the triumph of naturalism over Mannerist idealism, loose workmanship and many other aesthetic liberties. At this time the school reached its greatest splendor, both for the quality of the works and for the primordial rank of Sevillian Baroque painting. Thus, during the transition to Baroque we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, in whose works the rapid brushstroke and the crude realism of the style is already manifested, and Juan de Roelas, introducer of Venetian colorism. In the middle of the century the period reached its peak, 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 during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others. It presents slight flaws on the pictorial surface.
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