1 - PEDRO DEL POZO (Córdoba, active in the 18th century).

PEDRO DEL POZO (Córdoba, active in the 18th century). “Calvary,” 1783. Oil on canvas. The frame shows signs of damage. Inscribed on the reverse with the artist’s name, location, and date. Measurements: 105 x 82 cm; 118 x 95 cm (frame). In the twilight of an almost black sky, the crucified Christ occupies the center of the composition, his body suspended above a barren and desolate landscape. His bowed head, outstretched arms, and the subtle twist of his torso convey a sense of abandonment and restrained suffering. The white cloth wrapped around his waist stands out against the darkness of the background, while the light sweeps across his body and accentuates his anatomy, making him the main focal point of the scene. At the foot of the cross, the figures of the Virgin Mary and those accompanying her form a second emotional focal point. Mary, wrapped in a wide blue cloak, gazes toward Christ with a gesture of quiet sorrow; at her side, Saint John bows his head, overcome with grief. In the foreground, Magdalene embraces the crossbeam and clings to the feet of the Crucified One, introducing a note of intense human closeness into the depiction of the sacred drama. The composition is structured by a pronounced verticality, established by the crossbeam and extended by the body of Christ. Against this solemn structure, the gestures of the secondary figures trace diagonals that draw the viewer’s gaze toward the center of the scene. Painted in Seville in 1783, this canvas marks a transitional period in Andalusian painting, when the Baroque legacy coexisted with the principles of order, compositional clarity, and decorum promoted by 18th-century academic culture. The devotional tradition continued to occupy a central place in religious art, although its expressive resources were gradually adapting to new aesthetic sensibilities. Pedro del Pozo was a Spanish painter active during the 18th century, born in Lucena, Córdoba, and who died in Seville in 1785. His career unfolded within the Andalusian art scene, at a time when traditional workshops and new academic institutions coexisted amid a process of transformation in artistic education and practice. According to biographical accounts passed down by historians, he began his training in Lucena with Bernabé Jiménez de Illescas and continued it in Seville with Andrés or Luis Cancino. Among his principal responsibilities was his appointment as director of the Royal School of the Three Noble Arts of Seville in 1775, a position he held until 1785. This institution, the predecessor of the current Royal Academy of Fine Arts of Saint Elizabeth of Hungary, played a key role in organizing the city’s art education and in the gradual implementation of the academic model. The frame is damaged.