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Sevillian school; 1840-1830."Repentant Magdalene".Oil on canvas.It has important repainting.It has a
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Beschreibung
Sevillian school; 1840-1830.
"Repentant Magdalene".
Oil on canvas.
It has important repainting.
It has a period frame.
Measurements. 63 x 48 cm; 71 x 57 cm (frame).
Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she lodged and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
From the beginning of the 16th century, new pictorial concepts were introduced into Sevillian painting, driven by the ideology of the Renaissance movement, which came from Italy and Flanders and penetrated through the activity of the port of the Guadalquivir. The intense economic development that the city enjoyed, thanks to its fruitful mercantile contacts with America and Europe, was conducive to this artistic renewal. The creation of wealth benefited all the city's strata and
The creation of wealth benefited all classes of the city and led to the possibility of financing numerous building, sculptural and pictorial enterprises. Attracted by the possibility of finding good and well-paid contracts, many foreign painters arrived in Seville. German, French, Flemish and Italian artists settled here, their tendencies merging into a highly personal local school in which artists born in the city itself soon began to stand out. This led to a pictorial tradition that favoured the arrival of the Baroque in Seville, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. It was at this time that the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Seville Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Repentant Magdalene".
Oil on canvas.
It has important repainting.
It has a period frame.
Measurements. 63 x 48 cm; 71 x 57 cm (frame).
Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she lodged and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
From the beginning of the 16th century, new pictorial concepts were introduced into Sevillian painting, driven by the ideology of the Renaissance movement, which came from Italy and Flanders and penetrated through the activity of the port of the Guadalquivir. The intense economic development that the city enjoyed, thanks to its fruitful mercantile contacts with America and Europe, was conducive to this artistic renewal. The creation of wealth benefited all the city's strata and
The creation of wealth benefited all classes of the city and led to the possibility of financing numerous building, sculptural and pictorial enterprises. Attracted by the possibility of finding good and well-paid contracts, many foreign painters arrived in Seville. German, French, Flemish and Italian artists settled here, their tendencies merging into a highly personal local school in which artists born in the city itself soon began to stand out. This led to a pictorial tradition that favoured the arrival of the Baroque in Seville, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. It was at this time that the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Seville Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
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Sevillian school; 1840-1830.
"Repentant Magdalene".
Oil on canvas.
It has important repainting.
It has a period frame.
Measurements. 63 x 48 cm; 71 x 57 cm (frame).
Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she lodged and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
From the beginning of the 16th century, new pictorial concepts were introduced into Sevillian painting, driven by the ideology of the Renaissance movement, which came from Italy and Flanders and penetrated through the activity of the port of the Guadalquivir. The intense economic development that the city enjoyed, thanks to its fruitful mercantile contacts with America and Europe, was conducive to this artistic renewal. The creation of wealth benefited all the city's strata and
The creation of wealth benefited all classes of the city and led to the possibility of financing numerous building, sculptural and pictorial enterprises. Attracted by the possibility of finding good and well-paid contracts, many foreign painters arrived in Seville. German, French, Flemish and Italian artists settled here, their tendencies merging into a highly personal local school in which artists born in the city itself soon began to stand out. This led to a pictorial tradition that favoured the arrival of the Baroque in Seville, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. It was at this time that the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Seville Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
"Repentant Magdalene".
Oil on canvas.
It has important repainting.
It has a period frame.
Measurements. 63 x 48 cm; 71 x 57 cm (frame).
Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she lodged and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith.
From the beginning of the 16th century, new pictorial concepts were introduced into Sevillian painting, driven by the ideology of the Renaissance movement, which came from Italy and Flanders and penetrated through the activity of the port of the Guadalquivir. The intense economic development that the city enjoyed, thanks to its fruitful mercantile contacts with America and Europe, was conducive to this artistic renewal. The creation of wealth benefited all the city's strata and
The creation of wealth benefited all classes of the city and led to the possibility of financing numerous building, sculptural and pictorial enterprises. Attracted by the possibility of finding good and well-paid contracts, many foreign painters arrived in Seville. German, French, Flemish and Italian artists settled here, their tendencies merging into a highly personal local school in which artists born in the city itself soon began to stand out. This led to a pictorial tradition that favoured the arrival of the Baroque in Seville, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. It was at this time that the school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Seville Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.
10th March - Old Masters from America and Europe
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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