Null Flemish or German school; early seventeenth century. 

"Immaculate Concepti…
Description

Flemish or German school; early seventeenth century. "Immaculate Conception". Oil on oak panel. It presents faults and restorations. Measurements: 57,5 x 43 cm. Devotional scene where the baroque heritage is maintained in a dynamic composition with characters in movement, fully developing the action which is reflected in the treatment of their clothes. Since it is a scene already of advanced date within the baroque, we see that the space is unitary, dominating the celestial plane throughout the composition. Representation of Mary as Immaculate with the figure full-length, standing on a crescent of the moon and inscribed in a mandorla with angels on its outer perimeter and a large crown in the center. Medieval Christianity passionately debated the belief that Mary had been conceived without stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need to give iconographic form to this idea was born, and the model of the Apocalyptic Woman of St. John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. It presents faults and restorations.

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Flemish or German school; early seventeenth century. "Immaculate Conception". Oil on oak panel. It presents faults and restorations. Measurements: 57,5 x 43 cm. Devotional scene where the baroque heritage is maintained in a dynamic composition with characters in movement, fully developing the action which is reflected in the treatment of their clothes. Since it is a scene already of advanced date within the baroque, we see that the space is unitary, dominating the celestial plane throughout the composition. Representation of Mary as Immaculate with the figure full-length, standing on a crescent of the moon and inscribed in a mandorla with angels on its outer perimeter and a large crown in the center. Medieval Christianity passionately debated the belief that Mary had been conceived without stain of original sin. Some universities and corporations vowed to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need to give iconographic form to this idea was born, and the model of the Apocalyptic Woman of St. John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. It presents faults and restorations.

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