Null German school of the XVII-XVIII century.

"Pietà".

Sculpture in polychrome…
Description

German school of the XVII-XVIII century. "Pietà". Sculpture in polychrome carved wood. Presents lack of polychrome. Measurements: 47 x 43 x 20 cm. Germanic carving belonging to the Baroque. It presents a frontal work, hollowed out on the back for use as a niche. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is reflected in the pathos printed on the faces and in the anatomy of the lifeless body. The Marian mantle appears draped with dexterity. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

44 

German school of the XVII-XVIII century. "Pietà". Sculpture in polychrome carved wood. Presents lack of polychrome. Measurements: 47 x 43 x 20 cm. Germanic carving belonging to the Baroque. It presents a frontal work, hollowed out on the back for use as a niche. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is reflected in the pathos printed on the faces and in the anatomy of the lifeless body. The Marian mantle appears draped with dexterity. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

Auction is over for this lot. See the results