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RAFAEL RUIZ BALERDI BALERDI - Composition 273 165x110 cm This work appears in the Catalogue Raisonné of Javier Viar. It was the cover of the catalog of the exhibition Así pinta.... Rafael Ruiz Balerdi in the San Prudencio Hall of Vitoria-Gasteiz, 1985.

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RAFAEL RUIZ BALERDI BALERDI - Composition 273 165x110 cm This work appears in the Catalogue Raisonné of Javier Viar. It was the cover of the catalog of the exhibition Así pinta.... Rafael Ruiz Balerdi in the San Prudencio Hall of Vitoria-Gasteiz, 1985.

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Andalusian or novo-Hispanic school; second half of the XVII century. "Saint Raphael Archangel". Oil on canvas. It presents faults and restorations in the pictorial surface and the frame. Measurements: 178 x 101 cm; 187 x 110 cm (frame). Devotional image that presents us the archangel San Rafael with big wings extended, richly dressed with clothes to the fashion of the time, reflection of his high position in the celestial court. Particularly noteworthy is the meticulous treatment of the clothing, details such as the embroidery on the shirt or the trimmings on the boots, reflecting the survival of the 16th century Spanish ways in the colonial school of the Baroque. The angel appears in a simple and clear composition, perfectly didactic, probably taken from an engraving brought from Europe. He appears frontally, full-length and in the foreground, standing on a rocky ledge covered with poppies, before a landscape located at a lower level, developed in depth, again following models brought from Mannerist Spain. The fish hanging from one of his hands, and the partsana in another, indicates that it may be a representation of the Archangel Saint Raphael. This Archangel is one of the seven archangels that is in front of the throne of God. He is known as the healing Archangel, for his divine intervention with the character Tobias, whom he healed of a blindness. He is usually represented with a fishing rod, next to a fish or with the rod of the pilgrims, an attribute that identifies him as the patron of travelers because, with his help, he guides in spiritual journeys in search of truth and knowledge. The work is largely reminiscent of the aesthetic patterns that became popular at the time, which represented harquebusier angels, or torchbearers. Being indispensable in the representation of sculptural groups of religious character, starring the figure of saints, Jesus, or the Virgin. It presents faults and restorations in the pictorial surface and the frame.

JUAN RUIZ SORIANO (Higuera de la Sierra, Huelva, 1701 - Seville, 1763). "The Death of Saint Francis", 1743. Oil on canvas. Relined. It has repainting and restorations. Presents inscription with date. Measurements. 139 x 275 cm. The semicircular format of this work indicates that it is a painting intended as a decorative element, perhaps with the intention of ornamenting the upper areas of an opening, or another architectural space. Of a devotional nature, the artist has depicted the death of Saint Francis, who is lying in the centre of the composition with his eyes closed and his hands with the stigmata on his chest. Saint Francis, the protagonist of the scene, is surrounded by numerous religious of his order who are watching over his corpse, all of whom adopt a different attitude and have different physical features, which shows the artist's mastery. The central image, of a sober and austere character, is relieved by the artist through three elements: the glory break located in the upper area, the family on the left, perhaps representing some donors, whose clothes stand out against the rigorous black of the friars, and finally the presence of a small space on the right, where the official burial of Saint Francis can be seen, already in his coffin. Born in the town of Higuera de Aracena, now Higuera de la Sierra, Juan Ruiz Soriano trained in Seville with his cousin Alonso Miguel de Tovar (Higuera de la Sierra, 1678 - Madrid, 1752), and began painting in 1725. As a disciple of Tovar, it is logical that Ruiz Soriano's art should at the same time derive from that of Murillo, which is why his pictorial production is characterised by a soft, gentle drawing. We know that he worked for numerous religious orders, which asked him to produce a series of paintings to decorate their cloister walls. He must also have worked extensively for private individuals. The present canvas shows the direct influences of both Ruiz Soriano and Tovar, so it could be deduced that the artist is a painter from the circle of the former and a follower of the latter. Both masters derived their models from Murillo, as was common among 18th-century Sevillian painters, and this influence is also evident in this canvas, both in the sketchy treatment, with its elaborate classical tones, and in the figures themselves, which are painted with a marked sense of expressive affability and serenity. Within Alonso Miguel de Tovar's production we frequently find the same theme as the present painting, depicted in a very similar compositional model. In the "Divinas Pastoras" in the parish church of Cortelazor, the one in Higuera de la Sierra and the one in the Museo del Prado, all typical of Tovar's style, Mary appears seated on a rock against a landscape background enclosed on the left, dressed in a pink tunic, blue cloak and sheepskin sackcloth, holding a rose in her left hand and caressing a sheep's head with her right. In all of them, moreover, the animals approaching the figure hold roses in their mouths as an offering to Mary. The rest of the elements of the composition are identical to those in Tovar's, including the secondary scene in the background, in which an archangel is depicted fighting a demon who intends to attack a lamb holding a phylactery with the text "Ave Maria" in its mouth. Thus, the only iconographic differences with respect to Tovar's work are the Virgin's crown and the archangel, who in the work by the master from Higueras de la Sierra carries a flaming sword, while here he appears unarmed. Another differentiating element, although secondary in terms of iconography, is that in this work an angel appears holding Mary's staff, while in Tovar's works the staff appears leaning against the rock.

CANOGAR, RAFAEL (1934) Construction in glass, oil, collage of photography and paraffin on board Dated and signed lower area. right: "02 / Canogar"; inscription lower left area: "'ARMA'" Cat. 2002-046. Reproduced on the artist's website www.rafaelcanogar.com. PROVENANCE - Artist's collection, Madrid [2002, 2003, 2006]. - Private collection, Barcelona EXHIBITIONS - 2002. Rafael Canogar. Recent work. Granada, La General Cultural Center, Carmen of the Rodríguez-Acosta Foundation, June 6-July 14. - 2002. Rafael Canogar ontem e leaf. Porto (Portugal), Sala Maior, September 28-October 23 - 2003. Rafael Canogar. Reality and memory. 1992-2003. Madrid, Pablo Ruiz Picasso Gallery [Circle of Fine Arts], March 25-April 27 - 2003. Meetings of plastic artists from Castilla-La Mancha. Toledo, Santa Cruz Museum, July-September - 2003-04. Canogar. Warsaw, Palac w Królikarni, June 27-July 27, 2003 // Buenos Aires, National Museum of Fine Arts, November 12-December 11, 2003 // Monterrey, Mexico, Pinacoteca Centro de las Artes La Fundidora, February 19-April 4, 2004 / / / Mexico City, Antiguo Colegio San Ildefonso, April 22-June 20, 2004 // Montevideo, National Museum of Visual Arts, October 14-November 19, 2004 - 2004. Canogar. "Reality and Memory". Lisbon, Galeria António Prates Arte Contemporanea / Cascais (Portugal), Fundação D. Luís I Centro Cultural de Cascais, January 23-February 22 - 2004. Rafael Canogar. Madrid, Metta Gallery, December - 2006. Fragmentations. In Artesevilla 06, Contemporary Art Fair. Seville, Palace of Exhibitions and Congresses, January 19-23 (Special room on the occasion of the awarding of the Gold Medal of the Seville Contemporary Art Fair). - 2006. Canogar step by step. Vigo (Pontevedra), Caixanova Cultural Center / Caixanova Social Center, February 24-March 26 - 2006. Canogar. Destruction - Construction. Gijón (Asturias), Van Dyck Art Gallery, November 24-December 30 - 2007. Rafael Canogar. Barcelona, Barcelona Gallery, February 8-March 31 BIBLIOGRAPHY BIBLIOGRAPHY - BARNATÁN, Marcos-Ricardo: "Canogar from the dark to the light." In MARTÍN DE ARGILA, María Luisa and BARNATÁN, Marcos-Ricardo: Rafael Canogar. Reality and memory. 1992-2003. Madrid, Círculo de Bellas Artes, 2003 (Cit. page 16) [cat. exp.]. - CALVO SERRALLER, Francisco: Rafael Canogar. Recent work. Granada, Caja de Granada, Obra Social / Cruz Campo Foundation / Rodriguez-Acosta Foundation, 2002 (Repr. color s/page; cit. page 82, no. 28, with mixed technique on glass) [cat. exp.] - CALVO SERRALLER, Francisco: "Lo Última de Rafael Canogar" = "The latest from Rafael Canogar". In BONET [PLANES], Juan Manuel, MARTÍN DE ARGILA, María Luisa, CANOGAR, Rafael, CRISPOLTI, Enrico, AGUILERA CERNI, Vicente, NIETO ALCAIDE, Víctor and CALVO SERRALLER, Francisco: Canogar. Madrid, State Society for Foreign Cultural Action, SEACEX, 2003 (Repr. color page 109, with mixed technique on glass) [cat. exp.] - CANOGAR, Rafael: Canogar step by step. Vigo, Caixanova, 2006 (Color reproduction page 77, with mixed technique with crystals) [cat. exp.] - CANOGAR, Rafael: "Fragmentations". In Artesevilla 06, Contemporary Art Fair. Seville, Artesevilla, Contemporary Art Fair, 2006 (Color reproduction page 179, with mixed technique with crystals) [cat. exp.] - DELGADO BEDMAR, José Domingo and CORREDOR-MATHEOS, José: Encounters of plastic artists from Castilla-La Mancha. [Toledo], Foundation of Culture and Sports of Castilla-La Mancha, 2003 (Repr. color page 57, with mixed technique on glass; and dimensions 68 x 49 cm) [cat. exp.] - GEA, JC: "Canogar prepares its 'debut' in Asturias." The New Spain of Gijón (Gijón, Asturias), year LXX, no. 22,943, October 29, 2006, Gijón (Repr. color and cit. page 15, with mixed technique with crystals). - GARCÍA BERRIO, Antonio: " Rafael Canogar: constancy of the antithesis." Magazine of the West (Madrid), no. 347, April 2010 (Cit. page 109). - MARTÍN DE ARGILA, María Luisa and BARNATÁN, Marcos-Ricardo: Rafael Canogar. Reality and memory. 1992-2003. Madrid, Círculo de Bellas Artes, 2003 (Color reproduction page 73, with mixed technique on glass) [cat. exp.] - MOLINA, Margot: "'Arte Sevilla chooses its artists." El País (Seville), January 20, 2006, Andalusia (Repr. bl. and n. page 16). - MUÑOZ, Miguel Ángel: "Rafael Canogar: the passion for building spaces." In MUÑOZ, Miguel Ángel: Rafael Canogar. Madrid, Metta Gallery, 2004 (Cit. page 9) [cat. exp.]. - MUÑOZ, Miguel Ángel: "Rafael Canogar: the passion of building spaces". In MUÑOZ, Miguel Ángel: Canogar. Palma de Mallorca, Pelaires Center Cultural Contemporani, 2005 (Cit. page 10) [cat. exp.]. - MUÑOZ, Miguel Ángel: Convergence and setback. A look at contemporary art. Mexico DF, Conaculta / Fonca / Plan C Editores, 2008, La Mosca Muerta Collection, no. 20 (Cit. page 111) - MUÑOZ, Miguel Ángel: "Rafael Canogar: constant change." In MUÑOZ, Miguel Ángel: Rafael Canogar. Madrid, Álvaro Alcázar Gallery, 2009 (Cit. page 9) [cat.