Null German school for "Pietà" or ''Virgin of Mercy'' in polychrome carved wood,…

Description

German school for "Pietà" or ''Virgin of Mercy'' in polychrome carved wood, first half of the 17th century. Dimensions: H: 8 3/4 in., (22.5 cm.) The grouping has minor chips and some paint loss which is expected considering the medium and age.

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German school for "Pietà" or ''Virgin of Mercy'' in polychrome carved wood, first half of the 17th century. Dimensions: H: 8 3/4 in., (22.5 cm.) The grouping has minor chips and some paint loss which is expected considering the medium and age.

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German school of the XVII-XVIII century. "Pietà". Sculpture in polychrome carved wood. Presents lack of polychrome. Measurements: 47 x 43 x 20 cm. Germanic carving belonging to the Baroque. It presents a frontal work, hollowed out on the back for use as a niche. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is reflected in the pathos printed on the faces and in the anatomy of the lifeless body. The Marian mantle appears draped with dexterity. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

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Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.

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