Viceroyalty school: XVIII century.
"The Triumph of Jesus".
Oil on copper.
It has an adapted frame, made in silver.
Measurements: 23.5 x 20 cm; 39 x 29 cm (frame).
In this work Christ child is represented as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ, as universal savior, in relation to his role as judge in the Final Judgment and to his character of Redeemer. It is characterized by presenting Christ raising his right hand as a sign of blessing, while holding an orb with his left hand, although, in this case, the Child is placed on the orb stepping on the skeleton with his feet, in such a way that it represents the triumph over death and brings the resurrection to the viewer, a message that emphasizes the universal character of the Christian doctrine. The painting, which presents a completely scenographic composition, contains a multitude of martyrs, the Virgin, saints and the trinity of Jesus, God the Father and the Holy Spirit. We are before a work resolved in naturalistic language, a style ascribed to the baroque tradition of Spanish imagery.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries 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 is worth mentioning that during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.
It has an adapted period frame, made of silver.
Andalusian school; late 17th century.
‘Infant Jesus with the attributes of the Passion’.
Oil on canvas. Relined.
It has repainting and restorations.
Measurements. 83,5 x 61 cm.
In this painting Jesus is depicted as an innocent, rosy-cheeked child, carrying the instruments of his future martyrdom and wearing a red robe brocaded in gold, alluding to his own martyrdom. Throughout its history, and especially in the Modern Age, Christian art delighted in projecting the innocent infancy of Jesus next to the representation of the cross. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to move hearts. It was especially in the art of the Counter-Reformation that this funereal presentiment of the Passion was expressed by means of transparent allusions. Zurbarán shows the Infant Jesus pricking himself with his finger as he plaits a crown of thorns. Murillo, the little Saint John the Baptist showing him his cross of reeds. Finally, the theme finds its most poignant expression in the theme of the Infant Jesus Sleeping on a Cross. Here Jesus is not presented as a baby but as a somewhat older child, looking directly at us, fully aware of his destiny, and in fact bearing it voluntarily, as a burden he accepts on behalf of humanity.
Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes 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 medium, these images fulfilled the aim of sacralising everyday life beyond the altars.
Circle of DIEGO DE VELÁZQUEZ (Seville, 1599 - Madrid, 1660), 17th century
‘Infanta Margarita Teresa of Austria".
Oil on canvas.
Relined.
Frame from the 19th century, with faults and damage due to xylophagous.
It conserves remains of a label of the Board of Seizure.
Measurements: 152 x 105 cm; 183 x 135 x 8 cm (frame).
Margaret Theresa of Austria is depicted as an adolescent in this magnificent painting from the Spanish Golden Age. In its composition, in the type of framing (with the use of the curtain with a cordon) and, above all, in the virtuoso work of goldsmithing to define the qualities and psychology of the character, the oil painting belongs to the courtly circle of Velázquez, whose teachings it inherited with great mastery. Velázquez immortalised the young Margarita Teresa in ‘Las Meninas’, where the Infanta is no more than seven or eight years old. Here Margarita is somewhat older, and her defiant gaze denotes a haughtiness that is not typical of maturity, but rather subtly conveys a certain nonconformity characteristic of puberty. When our anonymous artist portrayed Marguerite, daughter of Philip IV and Mariana of Austria, she was engaged to Emperor Leopold of Austria, whom she would marry in 1666. Perhaps one of the rings she is wearing is a wedding ring. In her right hand she holds a closed fan and in her left a compass, an instrument of undeniable symbolic value (linked, in this case, to her expected ability to command). A frothy ruff enhances her aristocratic bearing, and silver brocades sparkle on her brown velvet dress. A diamond-studded brooch adorns her bosom and a lush headdress covers her golden hair. Her mother-of-pearl skin is illuminated by the faint redness of the crimson lips.An audacious play of glazes manages to extract an unusual depth from the clear gaze.
Spanish school; XIX century.
Wax.
Measurements: 22 x 16,5 x 3 cm; 31,5 x 27 x 4,5 cm (frame).
Relief made in wax representing the Virgin and Child. Given the importance given to the religious image in the Christian world, ambitious sculptural 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. Among this wide repertoire we would like to point out those replicas of a certain devotional sculpture, either of a Christ or a Virgin, which technically recreate their original location in addition to showing the figure in question. These painted copies were called "true portraits" or vera efigie, an artistic phenomenon of prolific production.
We use cookies to provide you with a better browsing experience, perform site traffic analysis, and deliver content and advertisements most relevant to your interests.
Cookie management:
By allowing these cookies, you agree to the deposit, reading and use of tracking technologies necessary for their proper functioning. Read more about our privacy policy.
