Null Krippe.
3 nativity figures. Three kings. Composite. Contemporary wooden bas…
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Krippe. 3 nativity figures. Three kings. Composite. Contemporary wooden base. With this height approx. 37 cm. D

2558 

Krippe. 3 nativity figures. Three kings. Composite. Contemporary wooden base. With this height approx. 37 cm. D

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Flemish school of the 17th century. In the manner of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640). "Adoration of the Kings". Oil on copper. It presents repainting. Measurements: 72 x 55 cm; 92 x 75 cm (frame). The present work is part of the Flemish school of the seventeenth century and is inspired by the Baroque models of Peter Paul Rubens, showing the religious scene of the Adoration of the Kings with a host of characters. This work represents the moment in which the three kings, accompanied by their entourage, present their gifts to the child Jesus, who, in his mother's arms, seems to play with the incense presented to him by Gaspar, kneeling before him. The scene is located outside, with a reference to the manger on the right side, transformed into a classical architecture, defined by a semicircular arch and a column. The clothes of the kings, with embroidered capes of rich color and great richness, like the adornments of precious stones and jewels of Balthazar, show the luxury of this procession. The scene takes place almost in semi-darkness, as we can see the opening to the landscape in the last shot. However, the luminosity is clear and the focus emerges from the figure of the child Jesus, who radiates the light that falls on the rest of the characters. The magnificence of the work can be seen in the multitude of characters. It is a composition full of movement and dynamism, where each of the characters is studied individually and as a whole, showing different postures and planes.

Neapolitan School or Circle of FRANCISCO SALZILLO (Murcia, 1707 - 1783), XVIII century. "Saint Joachim" or "Neapolitan Manger Character". Polychrome wood carving. Measurements: 55 x 40 x 33 cm. The character represented here, with long beard and Renaissance attire, stands out for the virtuous naturalism printed in the clothing and in the pious expression of the countenance. The histrionics or theatrical gesticulation is another element to highlight. Both attributes (naturalism and gestural dramatization) were characteristic of the work of Francisco Salzillo, one of the most outstanding figures of the Murcian school of the 18th century. Likewise, a possible Neapolitan origin of this piece should not be underestimated, since extreme naturalism was also more than frequent. Given that the Neapolitan school is part of the tradition of nativity scenes, the carvings of the Baroque and late Baroque period have a strong scenographic and dramatic component. We can appreciate in this carving the quality of the stew, the chromatic and textured plasticity of the drapery of the cape and the blouse knotted with a cloth at the waist, the naturalistic folds around the knees and calves.... The character, with her mouth ajar, seems to be addressing God in gratitude for something. In the case of a Neapolitan nativity scene figure, it could be part of the retinue of the Magi. It could also identify Saint Joachim, father of the Virgin. It is worth remembering that Salzillo was influenced by the Italian influence, being the son of the Italian sculptor Nicolás Salzillo. The Murcian school of sculpture was born in the eighteenth century, driven by the economic growth of the region, around the figure of Francisco Salzillo, collecting Mediterranean influences and especially Italian through the art of the Nativity Scene, which is introduced and developed in Spain in this century. Through the Murcian school, the novelties of the European Rococo were introduced in Spain, which were incorporated by Murcian masters such as Salzillo to the popular feeling typical of Spanish imagery.