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Description

Granada School of the 18th century. "Purísima Concepción". Carved and polychrome wood. Later polychromy. Damage by xylophages. Measurements: 53 x 21 x 21 cm. We are in front of a carving in round bulk representing the Virgin in her invocation of Immaculate Conception. Mary is shown standing on a set of cherubic heads, from which the peaks of the lunar crescent emerge. Dressed in a simple tunic and with a blue mantle, she joins her hands in a prayerful attitude, which imprints a naturalistic play of folds to the mantle. Her hair falls loosely down her back, and the features of her fine face and long neck add a remarkable elegance, stylizing her bearing. The theme of the Immaculate Conception highlights the fact that Mary was born free of Original Sin. To emphasize this ideal, the Virgin is usually represented with a series of characteristics that the faithful knew and identified. Thus, she is presented dressed in a white tunic and a blue mantle, symbols of purity and of truth and eternity, respectively. The moon at her feet alludes to Diana's chastity, and the clouds and the little angels reflect her character of mediator before the celestial court, rather than her victory over Original Sin, an idea that was the main one during the Counter-Reformation. The seventeenth-century Granada school, based on the previous Renaissance school, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who was trained in the city with the previous one), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows the naturalism, as usual at the time, but it would always emphasize more the intimate and recollection in some delicate images that would be somewhat similar to the rest of Andalusian schools in another series of details but that do not usually have the monumentality of the Sevillian ones.

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Granada School of the 18th century. "Purísima Concepción". Carved and polychrome wood. Later polychromy. Damage by xylophages. Measurements: 53 x 21 x 21 cm. We are in front of a carving in round bulk representing the Virgin in her invocation of Immaculate Conception. Mary is shown standing on a set of cherubic heads, from which the peaks of the lunar crescent emerge. Dressed in a simple tunic and with a blue mantle, she joins her hands in a prayerful attitude, which imprints a naturalistic play of folds to the mantle. Her hair falls loosely down her back, and the features of her fine face and long neck add a remarkable elegance, stylizing her bearing. The theme of the Immaculate Conception highlights the fact that Mary was born free of Original Sin. To emphasize this ideal, the Virgin is usually represented with a series of characteristics that the faithful knew and identified. Thus, she is presented dressed in a white tunic and a blue mantle, symbols of purity and of truth and eternity, respectively. The moon at her feet alludes to Diana's chastity, and the clouds and the little angels reflect her character of mediator before the celestial court, rather than her victory over Original Sin, an idea that was the main one during the Counter-Reformation. The seventeenth-century Granada school, based on the previous Renaissance school, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who was trained in the city with the previous one), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows the naturalism, as usual at the time, but it would always emphasize more the intimate and recollection in some delicate images that would be somewhat similar to the rest of Andalusian schools in another series of details but that do not usually have the monumentality of the Sevillian ones.

Estimate 600 - 700 EUR
Starting price 300 EUR

* Not including buyer’s premium.
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