Null ÉCOLE DES PEINTRES VOYAGEURS.
The Full Moon Dance in Rangoon.
Watercolor o…

Description

ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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ÉCOLE DES PEINTRES VOYAGEURS. The Full Moon Dance in Rangoon. Watercolor on card signed, dated 1876 and located Ranguun (Rangoon in Burma) lower right. The background shows the Shwedagon pagoda, in front of which the annual full moon festival is held. 19th century. Dimensions: 23x31.5 cm.

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Estim. 800 - 900 EUR

Attributed to JOSÉ GUTIÉRREZ DE LA VEGA (Seville, 1791 - Madrid, 1865). "Portrait of a Child. Oil on panel. It has a frame of the nineteenth century. Measurements: 25 x 17 cm; 33 x 24 cm (frame). The vaporous finish of the portrait, added to the chromatic range used by the artist, brings us aesthetically close to the pictorial circle of the painter José Gutiérrez De La Vega. One of the great portraitists of the Romantic period, and a fervent follower of Murillo, José Gutiérrez de la Vega trained between 1802 and 1807 at the Academy of Fine Arts of Santa Isabel de Hungría, in Seville. He began to paint portraits in 1816, being in his first works already evident the vaporous tones and flesh tones typically Murillo, as some commentator says, begin to give him a reputation. Between 1818 and 1820 he stopped attending the Academy and dedicated himself to making copies of Murillo, daring with the most complicated canvases of the master, from whose sale he lived. However, he re-enrolled in 1821, perhaps thinking of devoting himself to teaching. Indeed, in 1925 he was appointed assistant painter. However, a few years later, in 1831, he decided to go to Madrid to try his luck at court. He was an academician of merit of the Royal Academy of Fine Arts of San Fernando, although he never achieved the position of chamber painter, since it was only possible to access it when there were vacancies. After the creation of the Liceo Artístico y Literario de Madrid, Gutiérrez de la Vega became one of its most active members. He was also appointed director of the School of Fine Arts in Seville, a position he held from 1839 to 1847 when, due to his prolonged stays in Madrid, he had to leave. Later he was appointed professor of the elementary studies attached to the Royal Academy of San Fernando. Gutiérrez de la Vega lived mainly from portraiture, painting the effigies of prominent figures such as Isabel II (as an adult and as a child), the Marquis of Almonacid, the English traveler Richard Ford or Maria Cristina, widow of Ferdinand VII. However, his passion for Murillo's work led him to focus also on religious painting, a production in which his Inmaculadas stand out. Apart from portraiture and religious themes, this artist occasionally cultivated genre painting. Gutiérrez de la Vega is currently represented in the Prado Museum, the Royal Academy of San Fernando, the Ministries of Development and Industry in Madrid, the Provincial Museum of Fine Arts in Malaga and the Romantic Museum in Madrid, among others.

Estim. 1 800 - 2 000 EUR

Italian school; following models of GIUSEPPE MAZZOLINI (Italy, 1806-1876), 19th century. "Maternal care", 1865. Oil on canvas. Relined. It has slight damage, Repainting and restorations on the pictorial surface and damage to the frame. Measurements: 100 x 73 cm; 119 x 93 cm (frame). The academic painter Giuseppe Mazzolini was inspired on numerous occasions by the Renaissance masters. Copying the classics was a frequent exercise among the painters of neoclassicism. Often to sell them to travelers from abroad. This painting in turn is made by a copyist. Future artists had the opportunity to learn by copying the works of the great masters. Despite being a very common practice during the nineteenth and early twentieth centuries, today the Prado Museum is the only museum in the capital that admits copyists in a reduced way so that they can not interrupt the transit of visitors. Maternity was a recurring theme during the 19th century, which was based in a certain way on a religiosity based on the figure of the Virgin and Child. The representation of maternity seeks a theme of kind and sweet character, in most cases in a warm atmosphere, where the happiness of the home is appreciated, as in the case of this painting where the treatment of light and color take us to the aforementioned atmosphere. The painting stands out for its realistic finish that can be seen both in the features of the protagonists, as in the clothing that inscribes the piece in an aesthetic trend of costumbrista character. It presents slight flaws, Repainting and restorations on the pictorial surface and damage to the frame.

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