Null Spanish school, first half of the 19th century.

Untitled.

Oil on canvas.
…
Description

Spanish school, first half of the 19th century. Untitled. Oil on canvas. Frame with lack of polychromy and signs of old xylophages. It can make pair with the lot 35246882 Measurements: 40 x 31 cm; 50 x 42 cm (frame). Mythological scene in which a satyr secretly contemplates a nymph who seems to have noticed her spectator. The modest gesture of the young woman trying to get out of the water is in harmony with the attitude of the faun who raises his hands as if trying to pounce on the young woman. Aesthetically, it should be noted that academicism is a direct legacy of classicism, hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far removed from the solemnity of ancient classical art. This also explains his approach to the subject, recreating the mythological figures in a completely new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.

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Spanish school, first half of the 19th century. Untitled. Oil on canvas. Frame with lack of polychromy and signs of old xylophages. It can make pair with the lot 35246882 Measurements: 40 x 31 cm; 50 x 42 cm (frame). Mythological scene in which a satyr secretly contemplates a nymph who seems to have noticed her spectator. The modest gesture of the young woman trying to get out of the water is in harmony with the attitude of the faun who raises his hands as if trying to pounce on the young woman. Aesthetically, it should be noted that academicism is a direct legacy of classicism, hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far removed from the solemnity of ancient classical art. This also explains his approach to the subject, recreating the mythological figures in a completely new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.

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