Null FERNANDO BAÑOS (1948) Seville painter
GEUM RIVALE, 2003
Wax and watercolor…

Descrizione

FERNANDO BAÑOS (1948) Seville painter GEUM RIVALE, 2003 Wax and watercolor on paper Made on paper, it represents a floral motif like a tulip with perforations on both sides. It presents on the left side an inscription, by the author, with the words "planta forma" on the left, while on the right is "forma planta". Signed in the lower right corner. On the back, signed, titled and dated, with label of the Jorge Ontiveros Gallery, Madrid. Framed Measurements with frame: 148 x 106 cm

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FERNANDO BAÑOS (1948) Seville painter GEUM RIVALE, 2003 Wax and watercolor on paper Made on paper, it represents a floral motif like a tulip with perforations on both sides. It presents on the left side an inscription, by the author, with the words "planta forma" on the left, while on the right is "forma planta". Signed in the lower right corner. On the back, signed, titled and dated, with label of the Jorge Ontiveros Gallery, Madrid. Framed Measurements with frame: 148 x 106 cm

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Stima 2 000 - 2 500 EUR

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.

Stima 4 000 - 5 000 EUR

Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.

Stima 110 - 220 EUR

FERNANDO LINO (n.1948), "Paisagem" Pintura Óleo sobre tela motivo "Paisagem", assinado, emoldurado. Dim. Mancha: 55x70; Dim. Moldura: 75x90 cm. # Fernando Lino nasceu em lisboa a 1 de Agosto de 1938. Único discíplo de Mestre Silva Lino, desde muito cedo se iniciou no Mundo da arte datando a sua 1ª aguarela de 1948. Possui o Curso Parisiense Grands Maitres du Dessin da Ecole ABC, tendo-lhe sido atribuido uma bolsa de estudos.

DUTCH PAINTER, 18TH CENTURY Portrait of a gentlewoman Oil on oval canvas, 78 x 60 cm. Condition report Twentieth-century wax rintelo. Some small areas of oxidized restoration at top and right in the background and on the shoulder in the foreground Frame Eighteenth-century style gilt wood frame with ornate plant decoration

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