BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (1772)/(1…

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BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (1772)/(1847) "Perspectives of the funeral triumph car"

Pair of engravings According to the work of Jose Rivelles, in honor of Luis Daoiz and Pedro Velarde, artillery captains fallen on May 2, 1808. They have stains and deterioration on the paper. Measurements: 56 x 75 cm each

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BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (1772)/(1847) "Perspectives of the funeral triumph car"

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"Female Representation of Geography in a cart and its containers". Engraving by Cornelis Van Dalen (II) (Amsterdam 1638-1664) following original painting by Govert Flinck (Amsterdam 1615-1660) New Spanish five-leaf screen painted in oil on canvas with wooden frame ca. 1670-1720. In the five leaves that it preserves of the six that it would have, the four continents are represented based on the Iconology of Cesare Ripa, articulated through the central figure of the Goddess Cybele in her chariot pulled by the two lions, carrying her usual attributes , crown in the shape of city walls, a symbol of protection and power of the city and the key in the hand that gives access to all the riches of the earth and that the artist has assimilated to the feminine representation of geography. The continents have been represented following Cesare Ripa's Iconology published in Rome in 1593 as a great encyclopedia of emblems and allegories, to help artists represent virtues, vices, feelings and human passions and which became in iconographic reference. From left to right, the first one represented is America as a semi-naked woman with feathers on her head and a bow in her hand. At his feet, according to Van Dalen's original engraving, there would be an armadillo instead of a crocodile, which is the animal associated with America according to Ripa. At his side is a bearded male figure with a fur-trimmed hat and cape whose identity we do not know. Next, the Geography chariot and walking beside it, the representation of Europe carrying royal attributes such as the crown and the scepter and holding the reins of its distinctive animal: the horse. Behind the chariot you can see an elephant that would be the characteristic animal of the following figure, a black woman with a horn of plenty who would personify Africa and finally Asia, represented with a crown of flowers, a bouquet of pepper in one hand and a censer in her hand. another and behind it its distinctive animal: the camel, which in this case is a dromedary typical of Africa since the painters relied on engravings or descriptions of these animals that were made without having seen them in nature. The theme of the Four Continenetes developed from the 17th century through several series of engravings and spread throughout the viceroyalty of New Spain, giving rise to canvases and screens. The most important screen on the theme of the Four Continents is the one owned by the Soumaya Museum in Mexico, attributed to the painter Juan Correa, and another of the same authorship and theme owned by the National Bank of Mexico. The University of Navarra also has a screen with this theme, dated to the end of the 17th century but introducing the novelty of the triumphant version of the continents. The screen has restorations and some additions such as the red bird that flies over the heads of the lions. Van Dalen's engraving appears reproduced in color in "Geographia Blaviana" by Joan Blaeu, Amsterdam 1665 Volume !: Arctic, Norway and Denmark. This work, a jewel of modern cartography, is one of the most important books in the history of this discipline. Its eleven volumes are published first in Latin and later in other languages. Regarding the engraver of the work Van Dalen "The Younger" (Amsterdam 1638-1664) was the son and disciple of an engraver and publisher of prints with the same name and signed several engravings on works by Rubens and Govert Flinck (Cleveris 1615 - Amsterdam 1660) the latter the true author of the theme of the screen, who gained the recognition of political and royal figures of the time by first painting with a style inspired by Rembrandt that leads to Rubenian forms. Measurements: 204 x 325 cm

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