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Description

Valencian school; first half of the sixteenth century. "Crowned Virgin". Oil on pine board. It presents punctures and xylophagous damages. Measurements: 44 x 50 cm; 68 x 73 cm (frame). In this work is represented a celestial plane starring the image of Mary in the center, thus establishing itself as the axis of symmetry of the composition. It is crowned by two angels that crown the scene. The composition, strictly symmetrical without losing naturalism or a certain contained dynamism that already reveals the baroque taste. It is a piece where the conceptual predominates over naturalism, and hence the space is undefined. The lighting is also typically mannerist: a dramatic, fanciful and artificial light, which multiplies its spotlights and creates delicate nuances that model the volumes, and deep shadows that serve to highlight the central position of Mary. In addition, the author has made a careful study of postures and gestures, individualizing each character and looking for eloquence and expression. The Valencian school is different from the rest of contemporary Spanish artistic centers, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, Valencia has been an important focus of Spanish art, along with other schools such as Andalusia and Madrid. In Valencia, the change from the seventeenth to the eighteenth century was not a break with the previous tradition, but a continuation of it. In 1768 the Royal Academy of Fine Arts of San Carlos was created, and this institution will determine a change towards a classicism of baroque roots. Through it, young artists were trained by José Vergara, Manuel Monfort, José Camarón, Vicente Marzo, Vicente López and Mariano Salvador Maella. On the other hand, the economic recovery will result in a thriving industrial and commercial bourgeoisie, which will seek to distinguish itself socially through artistic patronage. At the same time, the Church was losing its monopoly as the only client of the artists. All this will determine a definitive change in taste, and also in the genres treated: religious painting will now coexist with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting. It presents punctures and xylophagous damage.

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Valencian school; first half of the sixteenth century. "Crowned Virgin". Oil on pine board. It presents punctures and xylophagous damages. Measurements: 44 x 50 cm; 68 x 73 cm (frame). In this work is represented a celestial plane starring the image of Mary in the center, thus establishing itself as the axis of symmetry of the composition. It is crowned by two angels that crown the scene. The composition, strictly symmetrical without losing naturalism or a certain contained dynamism that already reveals the baroque taste. It is a piece where the conceptual predominates over naturalism, and hence the space is undefined. The lighting is also typically mannerist: a dramatic, fanciful and artificial light, which multiplies its spotlights and creates delicate nuances that model the volumes, and deep shadows that serve to highlight the central position of Mary. In addition, the author has made a careful study of postures and gestures, individualizing each character and looking for eloquence and expression. The Valencian school is different from the rest of contemporary Spanish artistic centers, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, Valencia has been an important focus of Spanish art, along with other schools such as Andalusia and Madrid. In Valencia, the change from the seventeenth to the eighteenth century was not a break with the previous tradition, but a continuation of it. In 1768 the Royal Academy of Fine Arts of San Carlos was created, and this institution will determine a change towards a classicism of baroque roots. Through it, young artists were trained by José Vergara, Manuel Monfort, José Camarón, Vicente Marzo, Vicente López and Mariano Salvador Maella. On the other hand, the economic recovery will result in a thriving industrial and commercial bourgeoisie, which will seek to distinguish itself socially through artistic patronage. At the same time, the Church was losing its monopoly as the only client of the artists. All this will determine a definitive change in taste, and also in the genres treated: religious painting will now coexist with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting. It presents punctures and xylophagous damage.

Estimate 2 000 - 2 500 EUR
Starting price 1 500 EUR

* Not including buyer’s premium.
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