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Novo-Hispanic school; 17th-18th centuries."Virgin and Child".Oil on canvas adhered to cardboard
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Beschreibung
Novo-Hispanic school; 17th-18th centuries.
"Virgin and Child".
Oil on canvas adhered to cardboard mounted on a frame in the manner of a fanal.
Contains fabric, beads, trimmings, shells and human hair.
There is wear to the canvas, repainting and damage to the frame.
The Virgin's diadem has been treated.
Measurements: 42 x 35.5 cm; 48 x 41 cm (frame).
The author of this devotional work presents us with a 17th century painting, on which there has been a popular intervention, which has 18th century aesthetic characteristics and is reflected in the appliqués that have been produced on the original drawing. In this intimate scene, the artist has chosen a recurring theme in the history of art: "The Virgin and Child". However, the piece differs from the usual representations due to the use of a large number of materials that intervene on it, which give the scene great realism, as well as giving three-dimensionality to the figures of the Virgin and Child. This type of image, in which appliqués were added to the painting, or organic elements such as hair, was very common in popular culture, which was based on a tradition of veneration of objects based on the market of relics, the veneration of which was an explicit part of the everyday life of the people. The theme of the Virgin depicted with the Child Jesus, and more specifically with the Child Jesus on her lap, seated or standing, has its origins in the Eastern religions of antiquity, in images such as that of Isis with her son Horus, but the most direct reference is to the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to revealing a relationship of affection, beginning in the Gothic period. From then on, the figures would acquire movement, moving closer to each other, and finally the concept of the throne would disappear, and with it the secondary role of the Virgin. In this way, the image became an example of the love between Mary and her Son, an image of tenderness, close, designed to move the soul of the faithful.
It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Virgin and Child".
Oil on canvas adhered to cardboard mounted on a frame in the manner of a fanal.
Contains fabric, beads, trimmings, shells and human hair.
There is wear to the canvas, repainting and damage to the frame.
The Virgin's diadem has been treated.
Measurements: 42 x 35.5 cm; 48 x 41 cm (frame).
The author of this devotional work presents us with a 17th century painting, on which there has been a popular intervention, which has 18th century aesthetic characteristics and is reflected in the appliqués that have been produced on the original drawing. In this intimate scene, the artist has chosen a recurring theme in the history of art: "The Virgin and Child". However, the piece differs from the usual representations due to the use of a large number of materials that intervene on it, which give the scene great realism, as well as giving three-dimensionality to the figures of the Virgin and Child. This type of image, in which appliqués were added to the painting, or organic elements such as hair, was very common in popular culture, which was based on a tradition of veneration of objects based on the market of relics, the veneration of which was an explicit part of the everyday life of the people. The theme of the Virgin depicted with the Child Jesus, and more specifically with the Child Jesus on her lap, seated or standing, has its origins in the Eastern religions of antiquity, in images such as that of Isis with her son Horus, but the most direct reference is to the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to revealing a relationship of affection, beginning in the Gothic period. From then on, the figures would acquire movement, moving closer to each other, and finally the concept of the throne would disappear, and with it the secondary role of the Virgin. In this way, the image became an example of the love between Mary and her Son, an image of tenderness, close, designed to move the soul of the faithful.
It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
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Novo-Hispanic school; 17th-18th centuries.
"Virgin and Child".
Oil on canvas adhered to cardboard mounted on a frame in the manner of a fanal.
Contains fabric, beads, trimmings, shells and human hair.
There is wear to the canvas, repainting and damage to the frame.
The Virgin's diadem has been treated.
Measurements: 42 x 35.5 cm; 48 x 41 cm (frame).
The author of this devotional work presents us with a 17th century painting, on which there has been a popular intervention, which has 18th century aesthetic characteristics and is reflected in the appliqués that have been produced on the original drawing. In this intimate scene, the artist has chosen a recurring theme in the history of art: "The Virgin and Child". However, the piece differs from the usual representations due to the use of a large number of materials that intervene on it, which give the scene great realism, as well as giving three-dimensionality to the figures of the Virgin and Child. This type of image, in which appliqués were added to the painting, or organic elements such as hair, was very common in popular culture, which was based on a tradition of veneration of objects based on the market of relics, the veneration of which was an explicit part of the everyday life of the people. The theme of the Virgin depicted with the Child Jesus, and more specifically with the Child Jesus on her lap, seated or standing, has its origins in the Eastern religions of antiquity, in images such as that of Isis with her son Horus, but the most direct reference is to the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to revealing a relationship of affection, beginning in the Gothic period. From then on, the figures would acquire movement, moving closer to each other, and finally the concept of the throne would disappear, and with it the secondary role of the Virgin. In this way, the image became an example of the love between Mary and her Son, an image of tenderness, close, designed to move the soul of the faithful.
It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
"Virgin and Child".
Oil on canvas adhered to cardboard mounted on a frame in the manner of a fanal.
Contains fabric, beads, trimmings, shells and human hair.
There is wear to the canvas, repainting and damage to the frame.
The Virgin's diadem has been treated.
Measurements: 42 x 35.5 cm; 48 x 41 cm (frame).
The author of this devotional work presents us with a 17th century painting, on which there has been a popular intervention, which has 18th century aesthetic characteristics and is reflected in the appliqués that have been produced on the original drawing. In this intimate scene, the artist has chosen a recurring theme in the history of art: "The Virgin and Child". However, the piece differs from the usual representations due to the use of a large number of materials that intervene on it, which give the scene great realism, as well as giving three-dimensionality to the figures of the Virgin and Child. This type of image, in which appliqués were added to the painting, or organic elements such as hair, was very common in popular culture, which was based on a tradition of veneration of objects based on the market of relics, the veneration of which was an explicit part of the everyday life of the people. The theme of the Virgin depicted with the Child Jesus, and more specifically with the Child Jesus on her lap, seated or standing, has its origins in the Eastern religions of antiquity, in images such as that of Isis with her son Horus, but the most direct reference is to the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to revealing a relationship of affection, beginning in the Gothic period. From then on, the figures would acquire movement, moving closer to each other, and finally the concept of the throne would disappear, and with it the secondary role of the Virgin. In this way, the image became an example of the love between Mary and her Son, an image of tenderness, close, designed to move the soul of the faithful.
It is worth mentioning that during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.
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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