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Description

Spanish school; XVII century. "Calvary". Oil on canvas. Relined. Presents faults and Punctures. It has a frame of the nineteenth century. Measurements: 129 x 169 cm; 151 x 194 cm (frame). In this work that would be part of a representative group of the Way of the Cross, is represented the elevation of the cross in complete darkness, torn only by the banners that are part of the image, in which a scene of great drama is developed. Christ, already nailed to the cross, is lifted up by several men, who try to hoist the structure. Darkness hovers over the body of Christ, which stands out for the elongation of his anatomy, and the languor of the same, leaning on the wood of the cross, dejected and surviving the last breath of his mortal life, with the deathly white printed on his skin. The scene is completed with a group of characters, located in the lower area, which are part of the Roman SPQR (The Senate and the Roman People), headed by an equestrian figure, laureate, carrying a large banner, and seems to direct the condemnation of Christ. All these characters are arranged in a composition, elliptical, concave, which invites the viewer to be part of the scene. In addition, the figure of Christ is displaced from the center, thus attracting the observer to the center, which is illuminated by a warm light, of tenebrist heritage. This emptiness allows to rationalize and order the scene, whose characters stand out for the movement, the foreshortening, and the diagonal lines that follow with the position of their bodies. On the left side of the composition, the three Marys are comforted by little angels, who bring a certain tenderness to the great drama of the scene. Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nested in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, and the works were sometimes financed by popular subscription. Painting was thus forced to capture the prevailing ideals in these environments, which were none other than religious ones, at a time when the Counter-Reformation doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish sculpture of this period, which in the first decades of the century began with a priority interest in capturing the natural, to progressively intensify throughout the century the expression of expressive values. It presents faults and Punctures.

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Spanish school; XVII century. "Calvary". Oil on canvas. Relined. Presents faults and Punctures. It has a frame of the nineteenth century. Measurements: 129 x 169 cm; 151 x 194 cm (frame). In this work that would be part of a representative group of the Way of the Cross, is represented the elevation of the cross in complete darkness, torn only by the banners that are part of the image, in which a scene of great drama is developed. Christ, already nailed to the cross, is lifted up by several men, who try to hoist the structure. Darkness hovers over the body of Christ, which stands out for the elongation of his anatomy, and the languor of the same, leaning on the wood of the cross, dejected and surviving the last breath of his mortal life, with the deathly white printed on his skin. The scene is completed with a group of characters, located in the lower area, which are part of the Roman SPQR (The Senate and the Roman People), headed by an equestrian figure, laureate, carrying a large banner, and seems to direct the condemnation of Christ. All these characters are arranged in a composition, elliptical, concave, which invites the viewer to be part of the scene. In addition, the figure of Christ is displaced from the center, thus attracting the observer to the center, which is illuminated by a warm light, of tenebrist heritage. This emptiness allows to rationalize and order the scene, whose characters stand out for the movement, the foreshortening, and the diagonal lines that follow with the position of their bodies. On the left side of the composition, the three Marys are comforted by little angels, who bring a certain tenderness to the great drama of the scene. Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nested in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, and the works were sometimes financed by popular subscription. Painting was thus forced to capture the prevailing ideals in these environments, which were none other than religious ones, at a time when the Counter-Reformation doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish sculpture of this period, which in the first decades of the century began with a priority interest in capturing the natural, to progressively intensify throughout the century the expression of expressive values. It presents faults and Punctures.

Estimate 3 500 - 4 000 EUR
Starting price 2 500 EUR

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