Null T. PÉREZ. AFTER BARTOLOMÉ ESTEBAN MURILLO. Madonna and Child, known as "Mad…

Description

T. PÉREZ. AFTER BARTOLOMÉ ESTEBAN MURILLO. Madonna and Child, known as "Madonna with the Napkin". Oil on canvas Signed, located in Seville and dated 1939 46x47 cm. Gilt wood frame. Pictorial gaps.

542

T. PÉREZ. AFTER BARTOLOMÉ ESTEBAN MURILLO. Madonna and Child, known as "Madonna with the Napkin". Oil on canvas Signed, located in Seville and dated 1939 46x47 cm. Gilt wood frame. Pictorial gaps.

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ESTEBAN VICENTE PÉREZ (Turégano, Segovia, 1903 - New York, 2001). Untitled, 1967. Ink on paper. Signed. Exhibitions: Madrid, Elvira González Gallery, "Esteban Vicente. Black and white", 17 March - 14 April 2000, page 33 (reprod.). Barcelona, Alejandro Sales Gallery, "Esteban Vicente", November 2006 (reprod.). Measurements: 48 x 70 cm; 70 x 90 cm (frame). Esteban Vicente enters, in 1921, in the School of Fine Arts of San Fernando, in Madrid, with the purpose of training as a sculptor, but soon decides to devote himself to painting. In 1928 he held his first exhibition, after which he went to Paris, where he remained until 1930. He returned to Spain and exhibited in Barcelona and Madrid, and after the outbreak of the Civil War he worked in hiding in the mountains surrounding the capital. However, the same year of 1936 he decides to go to New York, his wife's place of origin. There he exhibited for the first time at the Kleeman Gallery in 1937. Four years later he obtained the American nationality since, having been a supporter of the Republican side, he decided not to return to Spain. He carried out numerous commissions and exhibitions in the following years, and between 1947 and 1947 he was a professor of painting at the University of Puerto Rico. Upon his return to the United States he established a relationship with the nascent New York School, participating in his exhibitions at the Kootz Gallery (1950), the Ninth Street Art Exhibition (1951) and at the Sidney Janis and Egan Galleries. He was a founding member of the New York Studio School, where he taught for thirty-six years. From the eighties onwards his work began to be known in Spain, retrospectives were dedicated to him (Banco Exterior, 1987, and Museo Reina Sofía, 1997) and he was awarded mentions such as the Gold Medal for Merit in Fine Arts (1990) and the Great Cross of Alfonso X the Wise (1999). In 1998 the Esteban Vicente Museum of Contemporary Art was inaugurated in Segovia, where a large part of his work is preserved today. Vicente's works are kept in major contemporary art museums around the world, such as the Metropolitan, the Guggenheim and the MOMA in New York, the Museo Nacional Reina Sofia in Madrid, the Smithsonian in Washington D.C., the Withney Museum of American Art or the Indianapolis Museum of Art, among others.

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Attributed to ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Saint Ursula. Oil on canvas. With illegible inscription on the back. Measurements: 93.5 x 73 cm; 103 x 84 cm (frame). This canvas shows Saint Ursula dressed as a maiden. According to medieval legend, a young girl named Ursula converted to Christianity promising to keep her virginity. As she was sought after by a Breton prince, she decided to make a pilgrimage to Rome and thus achieve the consecration of her vows. In Rome, she was received by Pope Siricius who blessed her and consecrated her vows of perpetual virginity to dedicate herself to the preaching of the Gospel of Christ. When she returned to Germany, she was surprised in Cologne by the attack of the Huns, in 451. Attila, king of this people, fell in love with her but the young woman resisted and, together with other maidens who refused to surrender to the sexual appetites of the barbarians, she was martyred. Due to its formal characteristics, this work can be attributed to Antonio Maria Esquivel, a Spanish painter and theorist appointed as Pintor de Cámara during the reign of Isabel II, who was recognized for his romantic style. Despite coming from a noble family, with the death of his father they find themselves in a precarious and difficult situation. However, his mother encouraged him to continue his studies at the Academy of Fine Arts in Seville, where he became familiar with the painting of Bartolomé Esteban Murillo (1618-1682). These studies were paralyzed by the invasion of the Hundred Thousand Sons of St. Louis, a military conflict that caused him to enlist in the liberal ranks to defend the square of Cadiz. In 1831 he resumed his studies and in 1831, as a pensioner in Madrid, he entered the general competition of the Academy, which named him an academician of merit. During his stay in the Spanish capital, he participated assiduously in the Artistic and Literary Lyceum, where he received anatomy classes. He also participated in the exhibitions of the Academy in 1835, 1837 and 1838.

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