Null FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1…
Description

FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo and Carlos de Haes. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes of local customs full of grace and color. His works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo and Carlos de Haes. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes of local customs full of grace and color. His works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

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Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Re-drawn at the end of the 18th century. Size: 111 x 85 cm; 120 x 93 cm (frame). The wake of the Marian painting of Zurbarán is manifested in this work of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and to his character of Redeemer. The monumental canon of the Virgin and child, their sculptural presence, has been achieved through subtle light modelling. The melancholic tenderness of the faces and the way in which the figures emerge emphatically from a misty background reveal the influence of Zurbarán. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter.