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WORKER OF PEDRO DE MENA - Possibly Andrea (1654-1734) and Claudia de Mena (1655-?) - Important large size Immaculate Virgin in Glory Granada work from the 18th century. Total measurements: 98 x 45 x 40 cm. Baroque sculptor, daughter of the universally known precursor of Andalusian Rococo imagery Pedro de Mena. Trained in her father's workshop, she would later enter the Cistercian abbey of Recoletas Bernardas de Santa Ana in Malaga in 1672, where years later Juana Teresa, the youngest of her sisters, would also enter. There are very few works by this extraordinary female artist that are preserved today, in the convent of Santa Ana itself the candlestick images of Saint Benedict and Saint Bernard (circa 1680) are preserved, which can be assigned to the work of the two sisters. The Hispanic Society of New York owns two small busts of Ecce Homo and Mater Dolorosa (1675) signed by Andrea. The four sculptures mentioned follow the paternal models with a more precious treatment. REDER GADOW, Marion: “The religious mentality of Pedro de Mena through his wills”, in: Pedro de Mena and his time (national symposium, April 5-6-7, 1989, Granada-Málaga) . Málaga: Junta de Andalucía, 1990, pp. 179-193.

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WORKER OF PEDRO DE MENA - Possibly Andrea (1654-1734) and Claudia de Mena (1655-?) - Important large size Immaculate Virgin in Glory Granada work from the 18th century. Total measurements: 98 x 45 x 40 cm. Baroque sculptor, daughter of the universally known precursor of Andalusian Rococo imagery Pedro de Mena. Trained in her father's workshop, she would later enter the Cistercian abbey of Recoletas Bernardas de Santa Ana in Malaga in 1672, where years later Juana Teresa, the youngest of her sisters, would also enter. There are very few works by this extraordinary female artist that are preserved today, in the convent of Santa Ana itself the candlestick images of Saint Benedict and Saint Bernard (circa 1680) are preserved, which can be assigned to the work of the two sisters. The Hispanic Society of New York owns two small busts of Ecce Homo and Mater Dolorosa (1675) signed by Andrea. The four sculptures mentioned follow the paternal models with a more precious treatment. REDER GADOW, Marion: “The religious mentality of Pedro de Mena through his wills”, in: Pedro de Mena and his time (national symposium, April 5-6-7, 1989, Granada-Málaga) . Málaga: Junta de Andalucía, 1990, pp. 179-193.

Estimate 45 000 - 50 000 EUR
Starting price 32 500 EUR

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For sale on Thursday 25 Jul : 16:00 (CEST)
barcelona, Spain
Templum Fine art Auction
+34935643445
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Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). 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 surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.