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Description

Spanish school; XVII century and later. "Immaculate Conception". Carved and polychrome wood. Presents restoration in the face of the Virgin of the twentieth century. It has an adapted base. Measurements: 31 x 14 x 10 cm (sculpture); 25 x 18 x 16 cm (base). Sculpture carved in round bulk, full body, representing the Virgin Mary in her invocation as the Immaculate Conception. Although devoid, in this case, of the pedestal with crescent moon and dragon subdued that characterize its iconography, it is probable that in origin it was accompanied by it. The Virgin appears dressed in tunic and mantle, both folded with volumetric draperies that provide a contained aspect to the figure. It is an image anchored in baroque aesthetics. The face tends to idealization, the thin lips and almond-shaped eyes are softly inscribed in an oval of rounded features. The long hair falls over the shoulders. Given the importance given to religious images in the Hispanic world, during the 17th century ambitious pictorial series and extensive iconographic programs were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or support, these images fulfilled the objective of sacralizing daily life beyond the altars. It presents restoration in the face of the Virgin of the XX century.

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Spanish school; XVII century and later. "Immaculate Conception". Carved and polychrome wood. Presents restoration in the face of the Virgin of the twentieth century. It has an adapted base. Measurements: 31 x 14 x 10 cm (sculpture); 25 x 18 x 16 cm (base). Sculpture carved in round bulk, full body, representing the Virgin Mary in her invocation as the Immaculate Conception. Although devoid, in this case, of the pedestal with crescent moon and dragon subdued that characterize its iconography, it is probable that in origin it was accompanied by it. The Virgin appears dressed in tunic and mantle, both folded with volumetric draperies that provide a contained aspect to the figure. It is an image anchored in baroque aesthetics. The face tends to idealization, the thin lips and almond-shaped eyes are softly inscribed in an oval of rounded features. The long hair falls over the shoulders. Given the importance given to religious images in the Hispanic world, during the 17th century ambitious pictorial series and extensive iconographic programs were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or support, these images fulfilled the objective of sacralizing daily life beyond the altars. It presents restoration in the face of the Virgin of the XX century.

Estimation 700 - 800 EUR
Mise à prix 400 EUR

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Spanish school; 17th century. "Immaculate Conception". Oil on canvas. It presents faults. Measurements: 182 x 118 cm; 203 x 137 cm (frame). Inscribed in a golden break of Glory, the figure of the Virgin is arranged as the Immaculate Conception. Placed on a pedestal created by clouds to which three small angels cling, the figure of the Virgin stands upright, monumental. She is facing the viewer, but her face is raised and slightly shifted to the left, looking out at something outside the pictorial composition. Despite this, her serene face and pious attitude with one hand on her chest indicate that she is addressing God, establishing direct contact with him and not with the viewer. A viewer to whom she is presented in a regal manner, thanks to her dominant position in the composition, her bearing and the monumentality of her forms, situated under the representation of the Holy Spirit, as queen of heaven and of Christianity. Aesthetically, the work is very close to the stylistic patterns created by Murillo. The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.