ESCUELA RUSA, S.XIX
Christ crucified with the ascension of St. Elias, St. Cather…

Description

ESCUELA RUSA, S.XIX Christ crucified with the ascension of St. Elias, St. Catherine, St. George and St. Irina. Icons. Icon painted in tempera and gilded on board. Adhered to board. Icon measures: 36 x 28,5 cm Total measures: 42 x 36,5 cm

634

ESCUELA RUSA, S.XIX Christ crucified with the ascension of St. Elias, St. Catherine, St. George and St. Irina. Icons. Icon painted in tempera and gilded on board. Adhered to board. Icon measures: 36 x 28,5 cm Total measures: 42 x 36,5 cm

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Estim. 30 - 50 EUR

Lot including : - two polychrome porcelain voids featuring young children, German work. - a religious subject in regula depicting Saint Francis of Assisi embracing the crucified Christ. H. 20.5 cm.

Starting price 150 EUR

Icon of Christ surrounded by Saint Helena and Saint Constantine. Tempera on half-moon wood panel on three boards with gold background with flowery reparure. Early 20th century Russian school. Significant cracks and missing parts. Size : 35 x 53 cm.

Estim. 10 000 - 12 000 EUR

Spanish school; c. 1600. "Christ crucified". Boxwood. Measurements: 48 x 34 cm (Christ); 84 x 40 x 14 cm. Boxwood carving showing Christ crucified. The representation is simple, although detailed, leaving in view the anatomy of the body of Jesus dressed with the cloth of purity. In spite of the pathos that infuses the gesture of the face in the work a body of serene attitude is shown with certain weight and movement due to the position of the superimposed feet, contrasting with the Romanesque Christs of four nails, whose position presented great statism. The way in which the purity cloth is arranged, diagonally, as well as the waters in the cloth of the same, increase that sensation of mobility, in addition to the inclination of the head towards the side, The moment of the crucifixion has been one of the most worked iconographic themes throughout history with the purpose of indoctrinating the faithful through the suffering that Christ lived in Golgotha. In general, it was left in the hands of image makers, who bequeathed abundant examples, this piece being one of them. These types of pieces were not usually made for churches, but for a more private cult. Thus, they were usually commissioned for private chapels, convents or monasteries, where they would be placed closer to the faithful. For this reason, the artist was required to be more detailed, appreciating in this case the detail of the hair, the Crown of Thorns made of silver, the anatomy, the mouth or the eyes of the crucified. This completes a work that is capable of transmitting the redemptive message of Christ.

Estim. 6 000 - 7 000 EUR

Italian school; XVIII century. "Christ crucified". Gilded bronze and iron base. Measurements: 29 x 20 x 9 cm; 49 x 20 cm (base). In this devotional sculpture of the Crucified, the modeling of the forms follow a classic canon of balanced anatomy that transmits an immutable beauty, responding to a concept of aesthetic serenity according to the Italian school. We are before a school ascribed to the classicist baroque, far from the dramatism of the dominant baroque. The polished finish of the gilded bronze and the sinuous line that draws the body (already relaxed, after the last breath) impregnate it with a contained pathos. A balanced and perfectly studied anatomy denotes the artistic ability of the sculptor, who reflects like no one else the suffering that Christ endured in his last seconds of life. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head inclined, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth (curved).

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