75
Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645)."
1/7
Beschreibung
Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645).
"The Adoration of the Shepherds.
Oil on canvas.
With repainting. Frame of the 19th century.
Measurements: 160 x 118 cm; 183 x 142 cm (frame).
This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.
During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
"The Adoration of the Shepherds.
Oil on canvas.
With repainting. Frame of the 19th century.
Measurements: 160 x 118 cm; 183 x 142 cm (frame).
This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.
During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645).
"The Adoration of the Shepherds.
Oil on canvas.
With repainting. Frame of the 19th century.
Measurements: 160 x 118 cm; 183 x 142 cm (frame).
This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.
During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
"The Adoration of the Shepherds.
Oil on canvas.
With repainting. Frame of the 19th century.
Measurements: 160 x 118 cm; 183 x 142 cm (frame).
This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image.
During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
9th March - Old Masters
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
Setdart offers Worldwide shipping
PICK UP IN ROOM: You can come and pick up your lots in our offices (Barcelona, Madrid or Valencia). At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART- LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
Wichtige Informationen
22% buyer´s premium
18% buyer´s premium at www.setdart.com
AGB
The maximum period to pay the lots is 7 working days. You can pay either via bank transfer or with credit card through our platform www.setdart.com (we only accept VISA or Mastercard).
BUYER´S PREMIUM: 22% Hammer price + 21% VAT from the buyer´s premium
If your piece has more than 100 years, our Ministry of Culture requires an export certificate in order for the piece to leave the country. Note that if the piece goes inside the EU, there is no cost for the export certificate. If the piece goes outside the EU, there is a cost for the export certificate. You can find more information in our Ministry of Culture website: https://www.culturaydeporte.gob.es/en/cultura/patrimonio/exportacionimportacion/exportacion/tasas.html
INQUIRIES: admin@setdart.com
Setdart guides you through the entire process, from the time of award to the day you receive your lot. Our logistics team will be happy to manage your transport, and will advise you on the best shipping method with professionals from the sector used to handling works of art and jewelry.
WE OFFER WORLDWIDE DOOR TO DOOR SHIPPING
PICK UP IN ROOM: You can come and pick up your lots in our offices. At the moment of the withdrawal, you will be able to accept the current conditions of the lot by means of a document that you will sign.
YOU CAN SEND ANOTHER PERSON TO PICK UP: This person must present a signed authorization that you can find in our web page by accessing from BUY AT SETDART-LOGISTICS-DOWNLOAD AUTHORIZATION DOCUMENT. You can also send an e-mail with the requested data in AUTHORIZATION DOCUMENT to admin@setdart.com
SETDART IS NOT RESPONSIBLE FOR THE STATE OF THE PARTS ONCE THEY LEAVE OUR FACILITIES. MRW SHIPMENTS: Once the payment is made, your lot will be packed for shipment, the logistics department will send you an e-mail notifying you of the day it leaves our warehouse, changes of address cannot be made after receiving this e-mail.
INSURANCE INCIDENTS: Coverage for the value of the auction up to 3000 ? per shipment, if the value of the auction is higher, Setdart will send you a quote including the additional insurance. The insurance company WILL NOT BE RESPONSIBLE FOR THE SHIPMENT THAT EXCEEDS THAT AMOUNT AND IS NOT FULLY INSURED. MRW INCIDENTS: Maximum notification 48 hours after receipt, after which the insurance company WILL NOT BE RESPONSIBLE AND NO CLAIMS WILL BE ACCEPTED.
E-MAIL LOGISTICS: logistica@setdart.com
PICK UP YOUR MESSAGES: You can send your own messaging, prior notice via e-mail that your shipment is ready, please note 3 or 4 days in advance. This type of shipment is packaged so Setdart will provide you with a quote.
EXPENSES FOR STORAGE: We inform you that if the purchased lot is not picked up within a month, you will be charged 30€ per week per lot. Setdart Online S.L., owner of the web site "setdart.com", "setdart.net" and "setdart.org", acts as a company of Spanish nationality inscribed in the Volume 36955, sheet 182, page B-293056 of the Mercantile Registry, with registered office at Calle Aragó
