100
Attributed to MELCHOR PÉREZ HOLGUÍN (Cochabamba, Viceroyalty of Peru, 1660-Potosí, 1732)."Captive
1/5
Beschreibung
Attributed to MELCHOR PÉREZ HOLGUÍN (Cochabamba, Viceroyalty of Peru, 1660-Potosí, 1732).
"Captive Christ".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 59,5 x 46 cm.
With tears in his eyes, but with a serene gesture, the author of this work picks up the effigy of Christ, in the moment in which he has been made captive. The crossed hands show the ropes that are holding him prisoner. This sobriety of the effigy, its posture and the hieratic nature it conveys, contrasts with the luminosity of the gilded background and the profuse ornamentation of the cloak.
The technical characteristics of the work bring it aesthetically close to the painting of the Bolivian Baroque artist Melchor Pérez Holguín, who became a point of reference in his country. Not much is known about his youth or his period of training, although it has been speculated that his artistic education took place in Spain, where he was influenced by both Murillo and the Flemish school. It should be noted, however, that in Bolivia there were copies of works by both Zurbarán and Francisco Pacheco, whose influence was latent in the country's artistic school. Established in Potosí, Pérez Holguin began to execute numerous commissions, the main theme of which was religion. This was evident from the great influence of the Spanish religion and the inescapable presence of the church in the region of Potosí, which, as in other cities in America, was also responsible for the education of the population.
"Captive Christ".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 59,5 x 46 cm.
With tears in his eyes, but with a serene gesture, the author of this work picks up the effigy of Christ, in the moment in which he has been made captive. The crossed hands show the ropes that are holding him prisoner. This sobriety of the effigy, its posture and the hieratic nature it conveys, contrasts with the luminosity of the gilded background and the profuse ornamentation of the cloak.
The technical characteristics of the work bring it aesthetically close to the painting of the Bolivian Baroque artist Melchor Pérez Holguín, who became a point of reference in his country. Not much is known about his youth or his period of training, although it has been speculated that his artistic education took place in Spain, where he was influenced by both Murillo and the Flemish school. It should be noted, however, that in Bolivia there were copies of works by both Zurbarán and Francisco Pacheco, whose influence was latent in the country's artistic school. Established in Potosí, Pérez Holguin began to execute numerous commissions, the main theme of which was religion. This was evident from the great influence of the Spanish religion and the inescapable presence of the church in the region of Potosí, which, as in other cities in America, was also responsible for the education of the population.
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Attributed to MELCHOR PÉREZ HOLGUÍN (Cochabamba, Viceroyalty of Peru, 1660-Potosí, 1732).
"Captive Christ".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 59,5 x 46 cm.
With tears in his eyes, but with a serene gesture, the author of this work picks up the effigy of Christ, in the moment in which he has been made captive. The crossed hands show the ropes that are holding him prisoner. This sobriety of the effigy, its posture and the hieratic nature it conveys, contrasts with the luminosity of the gilded background and the profuse ornamentation of the cloak.
The technical characteristics of the work bring it aesthetically close to the painting of the Bolivian Baroque artist Melchor Pérez Holguín, who became a point of reference in his country. Not much is known about his youth or his period of training, although it has been speculated that his artistic education took place in Spain, where he was influenced by both Murillo and the Flemish school. It should be noted, however, that in Bolivia there were copies of works by both Zurbarán and Francisco Pacheco, whose influence was latent in the country's artistic school. Established in Potosí, Pérez Holguin began to execute numerous commissions, the main theme of which was religion. This was evident from the great influence of the Spanish religion and the inescapable presence of the church in the region of Potosí, which, as in other cities in America, was also responsible for the education of the population.
"Captive Christ".
Oil on canvas. Re-retouched.
It presents repainting and restorations.
Measurements: 59,5 x 46 cm.
With tears in his eyes, but with a serene gesture, the author of this work picks up the effigy of Christ, in the moment in which he has been made captive. The crossed hands show the ropes that are holding him prisoner. This sobriety of the effigy, its posture and the hieratic nature it conveys, contrasts with the luminosity of the gilded background and the profuse ornamentation of the cloak.
The technical characteristics of the work bring it aesthetically close to the painting of the Bolivian Baroque artist Melchor Pérez Holguín, who became a point of reference in his country. Not much is known about his youth or his period of training, although it has been speculated that his artistic education took place in Spain, where he was influenced by both Murillo and the Flemish school. It should be noted, however, that in Bolivia there were copies of works by both Zurbarán and Francisco Pacheco, whose influence was latent in the country's artistic school. Established in Potosí, Pérez Holguin began to execute numerous commissions, the main theme of which was religion. This was evident from the great influence of the Spanish religion and the inescapable presence of the church in the region of Potosí, which, as in other cities in America, was also responsible for the education of the population.
10th March - Old Masters from America and Europe
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