Juan Do (scope)
Xàtiva 1601 - Naples 1656
Adoration of the Shepherds
oil on canv…

Description

Juan Do (scope) Xàtiva 1601 - Naples 1656 Adoration of the Shepherds oil on canvas, 125x195 cm.

208

Juan Do (scope) Xàtiva 1601 - Naples 1656 Adoration of the Shepherds oil on canvas, 125x195 cm.

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Estim. 15 000 - 18 000 EUR

JOSÉ GUERRERO (Granada, 1914 - Barcelona, 1991). Untitled, 1985. Oil on lithographic background. Signed and dated. Bibliography: Baena, Francisco; Guibault, Serge; Ramírez, Juan Antonio; Romero Gómez, Yolanda; Vallejo Ulecia, Inés, Catalogue Raisonné Vol. II. 1970-1991, ed. Centro José Guerrero, page 1090, nº 1133. Measurements: 68 x 48 cm; 82 x 64 cm (frame). Spanish painter and engraver nationalized American, José Guerrero developed his work within the abstract expressionism. He began his training at the School of Arts and Crafts in Granada, and soon moved to Madrid to continue his studies at the Escuela Superior de Bellas Artes de San Fernando, where he was a student of Daniel Vázquez Díaz. In 1942 he obtained a scholarship from the Casa de Velázquez, and in 1945 he moved to Paris thanks to a new scholarship, this time granted by the French government. In the French capital he got to know first hand the European avant-garde, and came into contact with the Spanish painters of the School of Paris. Since then, his work is full of avant-garde echoes and Picasso's signs, clearly visible in this work, features that he will abandon in the fifties, when he discovers abstract expressionism in New York. He arrived in that city in 1950, encouraged by his wife, the New York journalist Roxana Pollock, whom he had married a year earlier. In 1954 he exhibited with Joan Miró at the Art Club of Chicago, an exhibition that meant his definitive international projection. His dealer was Betty Parson, one of the most important gallery owners in New York at the time. Guerrero's style then changed completely, showing a profound influence of Rothko and Kline; he definitively abandoned figuration and built compositions where a marked tension between spaces, colors and unrecognizable objects was evident. He returns to Spain in 1965, and participates in the creation of the Museum of Abstract Art in Cuenca. He soon returned to New York, although he continued to make trips to Spain. His production, which continues to be characterized by the power of masses of color, planes and lines, is influenced at this time by Clyfford Still and Barnett Newman. Today, José Guerrero is recognized as one of the most outstanding Spanish painters of the New York School. He achieved early recognition, being named Knight of the Order of Arts and Letters by the French government in 1959. Likewise, in 1976 his first anthological exhibition was held in his hometown. In 1984 he received the Gold Medal of Fine Arts, and in 1989 he was decorated by the Rodriguez Acosta Foundation. In 2000 the art center that bears his name was inaugurated in Granada, created from the donation made by his widow to the Provincial Council. He is also represented in various museums and collections, including the Guggenheim Museum, the MOMA and the Metropolitan in New York, the Reina Sofia in Madrid, the British Museum and the Patio Herreriano in Valladolid.

Estim. 70 000 - 90 000 EUR

LUCA GIORDANO (Naples, 1634 - 1705). "Holy Family with St. John". Oil on canvas. Relined. It preserves Italian frame of the seventeenth century in carved and gilded wood. Signed in the lower left corner. Provenance: Wells College Museum, Aurora (United States) and private collection, Madrid. Measurements: 83 x 104 cm; 108 x 130.5 cm (frame). Bibliography: Milkovich, M. (dir.). Luca Giordano in America. Memphis: 1964, p. 38. - Ferrari, O. and Scavizzi, G. Luca Giordano. Naples: 1966, vol. II, p. 49 and vol. III, fig. 89. -Fredericksen, B. B. and Zeri, F. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge: Harvard University Press, 1972, pp. 85 and 554. - Ferrari, O. and Scavizzi, G. Luca Giordano. L'opera completa. Naples: Electa, 1992, vol. I, p. 263, cat. no. A86. -Sotheby's New York, Master Paintings & Sculpture: Part II, cat. exp. 29 January 2015. Luca Giordano is one of the most relevant figures of the European Baroque. A prolific painter, his career developed between his native Naples and the court of Madrid, where he resided between 1692 and 1702. His early biographers indicate that he was trained in the style of Ribera, whose style he imitated during his early years. His ability to imitate and copy the old masters would lead him to imitate the style of Rafael Sanzio, as shown in some of the paintings preserved in the Prado Museum. His time in Venice and Rome is also evident in his work, especially with regard to Pietro da Cortona. A good example of this is this Holy Family with St. John, dated by Ferrari and Scavizzi around 1660. It shows the physical types of Cortona's paintings such as his Adoration of the Shepherds of San Salvatore in Lauro. On the other hand, the space with classical ruins in which the figures are inserted is related to contemporary paintings by Giordano as his St. Anne with the Child Virgin of the Church of the Assumption in Chiaia (1657) or Christ among the doctors of Bolognese private collection (ca. 1660). The painting was first documented in 1664 by Milkovich in the Wells College Museum in Aurora. It was also collected there by Ferrari and Scavizzi in 1992, who also studied it and dated it to around 1660." Luca Giordano, the most outstanding Neapolitan painter of the late 17th century, and one of the main representatives of the late Italian Baroque.Painter and engraver, known in Spain as Lucas Jordan, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in our country. However, after his death his work was often criticized for its speed of execution, opposed to the Greco-Latin aesthetics. It is believed that he was formed in the environment of Ribera, whose style he followed at first. However, he soon traveled to Rome and Venice, where he studied Veronese, whose influence has been felt ever since in his work. This trip was key to the maturation of his style, as well as the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. At the end of the 1670s Giordano began his great mural decorations (Montecassino and San Gregorio Armeno in Naples), which were followed from 1682 by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to carry out mural works in the monastery of El Escorial, where he worked from 1692 to 1694. Later he also painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of the cathedral of Toledo (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of Succession, so Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are kept in the most important art galleries around the world, including the Prado Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London. Bibliography: Milkovich, M. (dir.). Luca Giordano in America. Memphis: 1964, p. 38. - Ferrari, O. and Scavizzi, G. Luca Giordano. Naples: 1966, vol. II, p. 49 and vol. III, fig. 89. -Fredericksen, B. B. and Zeri, F. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge: Harvard University Press, 1972, pp. 85 and 554. - Ferrari, O. and Scavizzi, G. Luca Giordano. L'opera completa. Naples: Electa, 1992, vol. I, p. 263, cat. no. A86. -Sotheby's New York, Master Paintings & Sculpture: Part II, Cat. exp. 29 January 2015.

Estim. 4 000 - 5 000 EUR

Neapolitan school, possibly SEBASTIANO CONCA (Gaeta 1680 - Naples, 1764); XVIII century. "The Adoration of the Shepherds". Oil on canvas. Measurements: 53 x 41 cm. The adoration of the shepherds is a traditional theme in the world of art in which Jesus is presented to us as a king. A humble king who is born in a haystack. In this case the work has been conceived in a theatrical way with the presence of the Child in the center as usual and a large number of characters who adore his presence and pay him homage. The artist has moved the figures to the background leaving a slight space in the foreground that gives spatiality to the work and also a certain lightness that facilitates the compression of a composition with so many characters. The light seems to radiate directly from the body of the Child, whose luminosity is further enhanced by the white cloth that surrounds him. This light illuminates the face of the Virgin, highlighting it against the background, and affects other points of the composition creating an expressive and effective play of chiaroscuro, typically baroque. Aesthetically the work is very reminiscent of Sebastiano Conca, an Italian painter active during the Baroque period. One of the most acclaimed artists of his time, he had the opportunity to produce large-scale works, in which he combined the grandeur typical of the late Baroque and the classicist style of Carlo Maratta.

Estim. 18 000 - 22 000 EUR

Attributed to the Master JUAN TEJERINA, 16th century. "The betrothal of the Virgin and Saint Joseph". Oil on panel. It has a 20th century frame following 15th century models. Measurements. 75 x 53 cm; 95 x 58 cm (frame). In the midst of the transition between the Gothic and Renaissance styles, this work shows us the author's knowledge of the new humanist trends. This is reflected in the way the space is composed, as the scene is organised through a vanishing point based on the viewer's gaze. The symmetry, common in this image of long artistic tradition, and the use of counterposts, movements and folds of the garments distance the work from the hieratic style typical of the Gothic period, although it is true that certain figures are reminiscent of that period. The panel depicts a theme that was particularly popular in the late Middle Ages, although its textual source is not to be found in the canonical biblical texts but in various apocryphal accounts. It concerns the betrothal of the Virgin Mary to the elderly Saint Joseph. From the 12th and 13th centuries until the end of the Gothic period, Mary gained importance as a symbol of the Church and its faithful, but also as an increasingly close, human figure, as the mother who intercedes for her earthly children, humanity, before her heavenly Son, Christ, seeking his forgiveness. In line with this growing importance, interest in her life, the events that marked her earthly existence and her destiny after her death also increased. Numerous devotional and mystical works, in many cases inspired by the ancient apocryphal texts written in the first centuries of Christianity, hastened to fill in the gaps left by the evangelists, recounting episodes of his childhood and youth in detail. In the case of her marriage to Saint Joseph, the sources take special care to emphasise the miraculous character of this marriage, pointing out that the suitor was chosen from among all the just and honourable men of Jerusalem, both unmarried and widowed, thanks to a divine sign. The stylistic characteristics of the piece bring us closer to the work of the master Juan Tejerina, whose production developed especially in the area of Palencia. A follower of Juan de Flandes, his aesthetic proximity has led to the attribution of the two panels of the Visitation of the Virgin to Saint Elizabeth and the Adoration of the Kings, which are included in the upper section of the main altarpiece in Palencia cathedral. The Annunciation and the Nativity in the church of Santa Eulalia in Paredes de Nava are also attributed to him.

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